Art treasures of the Lambeth library. A description of the illuminated mauscripts, etc;

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' jibf^/'**^' h€r, '!!>&- nvnrr.

Jjr"^4.v A. B<Aj~U JiUfui ^^^^'^^

THE BEGINNING OF ST JOHN,

FROM THE GOSPKI.S OF M^C DUKNAN,

Archiep- Lib. Lambetb .

^rt Creasures of t\)t Hambetf)
iltkar^

A DESCRIPTION OF THE ILLUMINATED
MANUSCRIPTS
ETC

INCLUDING NOTES ON THE LIBRARY

BY

S. W. KERSHAW MA.

LIBRARIAN

ALDI

LONDON

BASIL MONTAGU PICKERING

196 PICCADILLY

1873

z

TO

HIS GRACE THE RIGHT HONOURABLE AND MOST

REVEREND

ARCHIBALD CAMPBELL TAIT, D.D., D.C.L., LL.D.

LORD ARCHBISHOP OF CANTERBURY,

A3 PRESIDING OVER THE ANCIENT AND VALUABLE

LIBRARY OF LAMBETH PALACE,

THIS MANUAL

IS, BY HIS grace's KIND PERMISSION, MOST
RESPECTFULLY DEDICATED.

817168

PREFACE.

FTIS Manual, pretending to no deep biblio-
graphical refearch, or fkilled art-knowledge,
appears with the one aim of giving a faithful
defcription of the " Art Treafures " in Lam-
beth Library.

Under this title are comprifed the illuminated MSS.

and fome of the illuftrated books which have never been

J-pecially defcribed, and are only generally known by the

Catalogue of the MSS. compiled by Dr. J. H. Todd,

and pubHfhed in 1812.

Thefe examples of illuminated art, and their preferva-
tion in the Archiepifcopal Library, feem to demand for
them greater attention than they have yet received, and
this book is now offered as an afliftance to the artift,
archasologift, and general ftudent.

To His Gr^ce the Lord Archbifhop of Canterbury
I beg to exprefs fincere gratitude for allowing drawings
to be made of fome of the beft examples of illuminated
art, and alfo for the permiflion to publifh this work.

To Henry Shaw, Efq., F.S.A., I am much indebted
for valuable hints as to the choice of illuftrations ; to

viii Preface,

Richard Sims, Kfq., of the Britifh Mufeum, for ready
affiftance on various points of detail, and alfo to friends
for occafional fuggeftions.

The coft of illuftrating in colour has precluded the
pofTibility of employing that procefs, but every care has
been' taken to fecure a faithful reproduction of the
originals in outline lithography, by Mr. J, A. Burt.

As a " fir ft attempt" on fo technical and inexhauftible
a fubjed, I afk the indulgence of my critical readers,
who well know the difficulty in compiling, from fuch
abundant materials, an epitome at once concife and
interefting.

Owing to the limited nature of a manual, the de-
fcriptions muft be fomewhat brief, but copious references
have been made from the works of able and well-known
writers, thus endeavouring to combine as much infor-
mation as poffible in the pages of a book written during
the intervals of fcanty leifure.

S. W. K.

Lambeth Library,
1872.

LIST OF ILLUSTRATIONS.

Plate

SHE beginning of St. John's Gofpel, from the Gofpels
of MacDurnan. Ninth century.

{To face title-page.')

Autographs of fome of the Archbifhops. Ban-
croft, 1604, to Tenifon, 171 6, &c. .....

" The Song of the great multitude in Worftiip." From the
Apocalypfe. Fo. 8. Lambeth MS. 209. End of Thirteenth
century ..........

" St. John falling down to vvorfhip the Angel." From the Apo-
calypfe. Fo. 39. Lambeth MS. 209. ....

Initial B. The Genealogical or JefTe tree, the commencement of
the " Beatus." From Pfalter. Fo. 2. Lambeth MS. 233.
Fourteenth century .......

The Marriage of Henry, Emperor of Rome, to Maude, daughter
of Henry the Firft of England. From the St. Albans
Chronicle, Lambeth MS. No. 6. Fo. 122. Fifteenth
century .........

The Signing of the Treaty of Arras. From the fame. Fo. 251/'.

Initial C. From St. Jerome's verfion of the Bible. Fo. 182.
Lambeth MS. No. 3. Twelfth century ....

1

1

Ztt Zxtaimts of tl)e JLambetl)

THE LIBRARY.

|HERE is general evidence to fhow that a
colleflion exifted in the very early hiftory of
the Palace, but the firfl: reliable date is the
foundation of the Library by Archbifhop
Bancroft, in 1610. That Primate, by his
will, gave all his books to his fucceflbrs, the Archbifhops
of Canterbury for ever, " provided they bound themfelves
to the neceflary afllirances for the continuance of fuch books
to the Archbifhops fucceffively," otherwife they were be-
queathed " to his Majefty's College, at Chelfea, if to be
eredled within fix years or otherwife to the publique
Library of the Univerfity of Cambridge." Bancroft's
fucceflbr, Archbifhop Abbot (161 1-33), carried out thefe
injundlions, by care being taken of the collection, and
alfo by leaving his own books to the Lambeth Library,
It is now difficult to fketch the hiftory of the collection,
for the troublous times of the Civil war were at hand ;
and according to Ducarel, we learn that Archbifhop
Laud's Books and MSS. were plundered by Colonel
Scott, in 1644. After that Prelate's death. Parliament

B

2 T^he Library.

being about to feize on the Library, Selden, fearing the
danger of total difperfion, fuggefted to the Univerfity of
Cambridge, their right to the books in accordance with
Bancroft's will, as above-mentioned. Thither they were
transferred, till the reftoration reinftated the Archbifhops,
when the colledlion was reclaimed by Juxon (1660-63),
but he, dying before the books were reftored, it was left
to his fucceflbr, Archbifhop Sheldon, (1663-78), to fee
them replaced at Lambeth. This Primate, by his will,
bequeathed a portion of his own library " towards the
encreafe and improvement of the publique library of the
See of Canterbury, now fettled at Lambeth houfe."
From the foregoing ftatements we have feen that Arch-
bifhops Bancroft and Abbot gave largely to the collec-
tion ; of Laud's bequefts very little remains. That
Prelate's benefactions to the Bodleian Library and St.
John's College, Oxford, are well known, but to Lambeth
he is underftood to have given only among the MSS. three
or more volumes, one of which, however (No. 943) is
of intereft, being defcribed as a '* colledion of papers
formerly belonging to Archbifhop Laud ; many of them
written by his own hand, and moft of them endorfed by
him."

There are a few fmall books which bear marks of
having belonged to him, but whether they came into the
library by his gift or afterwards, through fome other
fource, it is hard to determine.

Archbifhop Sancroft (1678), though the printed
books owe nothing to him, took great pains with the
MSS. having had many of them rebound, and had ac-
tually placed his colledion for the ufe of his fuccefTors, but
upon his deprivation, prefented it to Emmanuel College,
Cambridge, of which he had been Mafter. We hear of
no bequefls from Archbifhop Tillotfon (1691-5), but

The Library. 3

Tenifon (i 695-1716), bequeathed a portion of his
library to Lambeth, a part to St. Paul's Cathedral, and
a part to the library which he had founded in St. Mar-
tin's-in-the-Fields. Many of the Lambeth books contain
his infcriptions, copious notes or autograph fignatures.
During the next fifty years, when the See was filled
by the Primates Wake, Potter, Herring, and Hutton
(17 1 6-1 757), few additions were made. Archbifhop
Seeker (1758-68), befides expenditure in improvement,
dire6led by his will all the books in his own library, of
which no copies exifted in the Archiepifcopal collec-
tion, to be added to it. Archbifhop Cornwallis (1768-
1783), caufed the large colledlion of trads to be
arranged and bound, and Archbifhops Manners-Sutton
(1805-1828), and Howley (1828-48), largely contributed
to the theological department. Hitherto, no mention
has been made of the valuable colledlion of MSS. and
their benefaftors, which has been referved for fpecial
mention. The MSS. numbering in all fome 1,300
volumes, are divided into feven feries or fets ; and named
after their refpedlive donors, viz :

1. Lambeth MSS., Nos. 1-576, given by feveral
Archbifhops.

2. Wharton, S77'595i thofe of Henry Wharton,
purchafed by Archbifhop Tenifon.

3. Carew, ^96-638, thofe formerly belonging to
George, Lord Carew, purchafed by Tenifon.

4. Tenifon, 639-923, colledled and given by Arch-
bifhop Tenifon.

5. Gibfon, 929-942. Formerly belonged to Arch-
bifhop Tenifon, who gave them to his librarian, Edmund
Gibfon, who direded them to be depofited at Lambeth.

6. Mifcellaneous, 943-1174. Prefented by various
benefaftors.

4 T^he Library.

7. Manners-Sutton (1175-1221). Thofe purchafed
and prcfented by Archbifhop Manners-Sutton ; princi-
pally the colledion of the late Profeflbr Carlyle.

The remaining manufcripts more properly belong to
the clafs of Records, and include the very valuable feries
of the Regifters of the Archbifhops of Canterbury, from
Peckham (1274) to Potter (1744) ; Surveys of Church
Lands, circ. 1650, Chartae and other mifcellaneous collec-
tions of an ecclefiaftical charadler, all of which are defcribed
in Dr. J. H. Todd's printed catalogue of the MSS. 1 8 1 2.

As the word " Regifter " may lead to mifapprehenfion
by fome, I may ftate that thefe volumes contain, in
general, the account of each Archbifhop's confecration or
appointment, records of inftitution to benefices, lifts of
perfons ordained, and a number of important wills. The
Epifcopal Regifters in the feveral cathedral libraries em-
body moft of thefe particulars, thofe of Canterbury and
York alfo contain proceedings with the fuffragans, re-
cords of Convocation and Councils. The former are ren-
dered doubly valuable by an elaborate index in fixty-
feven volumes, compiled by Dr. Ducarel, librarian at
Lambeth.

The nature and value of the library (both Printed
Books and MSS.) is fo well recognized, that to enlarge
upon its merits would be here out of place. It may
however, be interefting to mention that moft of the
volumes are diftinguiftied by the arms or initials on the
covers, of fuccefti ve Primates and other donors, while auto-
graphs and memorandaon the title-pages or fly-leaf, record
noted names and fupply links of ownerftiip. The Library,
confifting of nearly 30,000 volumes, formerly arranged
in the galleries over the then ftanding cloifters, is now
depofited in the Great Hall, rebuilt by Archbiftiop
Juxon about 166 1, and beautifully arranged for the

Platel.

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Jomns A.Barb,lji£tw .

T^he Library. 5

purpofe by Mr. Blore, archited about 182,8, at the coft
of Archbifhop Howley.

The roof of noble dimenfions and refembling thofe
of Weftminfter Hall, Eltham and Hampton Court
Palaces, is built of Englifh oak, and on feveral parts of
the woodwork the arms of Juxon and the See of Can-
terbury are carved. At the north-eaft end of the Hall,
is a window, on which many of the armorial bearings of
the Archbifhops are painted. Here, are alfo portions of
ftained glafs which have been removed from other parts
of the Palace to this window. Other interefting memo-
rials, which more properly belong to the Palace itfelf,
can be fully ftudied in the county hiftories, or hand-
books of London.

My fketch would be incomplete without naming
fome of the eminent men who have fucceffively had
the loving care of this famous colledtion. One of
the earlieft Librarians, and appointed by Archbifhop
Bancroft, was Henry Wharton, M.A.,the learned author
of the "Anglia Sacra," and a hoft of works whofe
titles are too numerous to record here ; he died at the
early age of thirty-one. The next, Colomiez or Colo-
mefius, a learned French Proteftant, came to this country
at the invitation of Ifaac Voffius, then Canon of Windfor;
his " Galha Orientalis," or an account of fuch French
writers as were fkilled in the Oriental languages, is one
among a number of fimilar works by his pen. Edmund
Gibfon, afterwards Bifhop of London, was appointed by
Archbifhop Tenifon in 1700. The Catalogue of the
printed books was firft drawn up by him, of which a fair
copy was made by Dr. Wilkins in 17 18 in three volumes
folio. This Bilhop's tranflation of the Saxon Chronicle,
his edition of Camden, and, above all, his well-known
" Codex Juris Ecclefiaftici Angllcani " atteft his learning

6 T^he Library.

His fuccefTor, Dr. Ibbott, appointed by Archbifliop Teni-
fon in 1708, is chiefly known by his " Boyle ledlures."

Dr. David Wilkins, the next librarian, continued the
Catalogue of the MSS. and Printed Books. His fervices
to the library were great, but his fame perhaps refts
rather on his various publications ; viz. his edition of
Seidell's works, 1726, of the Anglo-Saxon Laws, 1721,
and his great and celebrated " Concilia Magnas Britan-
niai et Hiberniae " which he publifhed in 1737 in four
volumes folio. His fucceflbr Dr. J. H. Ott, a learned
Swifs, was appointed by Archbifliop Wake. Dr. Ducarel,
appointed by Archbifhop Hutton in 1757, retained the
office during the Primacies of Seeker, Cornwallis, and
Moore. Dr. Ducarel, a moft induftrious antiquarian writer,
has efpecially linked his name with Lambeth Library, in
the compilation of various Catalogues and Lidexes.
The Catalogues of the printed books, begun by Bifliop
Gibfon and continued by Dr. Wilkins, were augmented
by Ducarel, down to the time of Archbifhop Cornwallis.
The Catalogue of Archbifhop Seeker's books, another of
the Pamphlets and Tradls, and above all, Indexes in
67 volumes to the Regiflers of the Archbifhops of Can-
terbury from Peckham to Potter, were proofs of Ducarel's
untiring induftry.

Dr. J. H. Todd, Archdeacon of Cleveland, dif-
tinguifhed his librarianfhip by compiling and printing in
18 1 2 "A Catalogue of the Archiepifcopal MSS." &c.
A folio volume of prefent reference and valuable fervice.

The name and repute of Dr. Maitland, who held the
poft, during Archbifhop Howley's primacy, is flill
frefh in the memory of many fcholars and fludents.
As the author of the " Dark Ages," " EfTays on the
Reformation " and other books, his name will live, while
he no lefs contributed to the value of the Library by

The Library. j

publifhing his well-known works : " A lift of feme
of the Early Printed Books in Lambeth Library," 8vo.
1843 ' followed by "An Index of fuch Englifh books
printed before the year MDC. as are now in the Archi-
epifcopal Library at Lambeth." Svo. 1845.

The Rev. William Stubbs, M.A. Regius ProfefTor of
Modern Hiftory at Oxford, held the poft of librarian
for a few years. Among xht fever al learned hiftorical
works compiled or edited by him may be named one
(now in progrefs) which is entitled, *' Councils and Ec-
clefiaftical Documents relating to Great Britain and Ire-
land," edited in conjunction with the Rev. A. W.
Haddan, B.D., after Spelman and Wilkins ; a fmaller
though very ufeful book is the '^ Regiftrum facrum Angli-
canum " an attempt to exhibit the courfe of Epifcopal
fucceffion in England." 4to. 1858.

The lofs of his recent fervices in affording fcholarly
aid to all who confulted the MSS. and Books, will be
long felt and gratefully remembered.

In 1868 certain alterations, effected by the late Arch-
bifhop Longley, approved by the Ecclefiaftical Com-
miffioners, and afterwards enforced by an Order in
Council, rendered the library much more acceflible to all
ftudents and literary men.^

The memory of one is ftill living, who, as Honorary
Curator, difplayed an unwearied intereft in the welfare of
the library; I allude to the late Archdeacon of London,
the Venerable W, Hale Hale, M. A, and with adding a
tribute to his valuable but fhort-lived fervices, my {ketches
of thefe eminent men are brought to an appropriate clofe.

' The Library is open on Mondays, Wednefdays, and Fridays, from
ten to three, except during the Vacations, of which due announcement
is given beforehand.

INTRODUCTORY.

" Glimpfes of glory, ne'er forgot

That telJ like gleams on a funfet Tea,

What once hath been — what now is not,
But, oh ! what again (hall brightly be."

JHE fignificance of illuminated MSS. may
be confidered in their relations to hiJlor)\
Jymholijm^ and pra5fical ujes.

The importance thefe feveral divifions
aflume, is well known to all who have
been aided by illuminations in illuftrating Tome work of
art, and the feveral characfleriftics of ftyle, execution, and
chronological data have been treated by greatly expe-
rienced writers on the fubjecft.

The following Jketch fimply endeavours to throw out
reflexions and fuggeftions, occafioned by this threefold
divifion.

£2

^^

I. History.

|ROM remote ages the embellifhment of manu-
fcript appears to have been cuftomary, and to
have advanced or receded with the current of
civilization.

The Egyptian hieroglyphics executed on fcrolls made

Hijiory. 9

of the papyrus, or common rufh of the Nile, were
rendered more attradlive by colour ornament. The
fubfequent fubftitution of vellum or parchment for
leaves of papyrus gave greater fcope for decoration,
which was further enriched, by the employment as a
groundwork, of purple and rofe colours, produced by the
procefs of ftaining. During the early centuries of the
Chriftian era, illuminations, after a claflical and oriental
model, pofTefled a great deal of important interefl in
many particulars ; and, though executed under declining
relations, are very valuable, as illuftrating the painter's
art at a period when claffical traditions were faft dif-
appearing. The libraries in Rome, Florence, Milan
and Vienna, poflefs fplendid examples of illuminated
MSS. of the above-mentioned flyles.

As a few, among many examples, it will be fufficient
to mention the "Vatican Virgil," a celebrated Homer in
the Ambrofian Library at Milan; the "Eufebian Canons"
preferved in the Britifh Mufeum; and the *' Codex Ar-
genteus" of Ulphilas, at Upfal in Sweden.

The focial and political revolutions of the Latin Em-
pire reduced the pidlorial art from its comparative
excellence, and it fought a new home and protedion in
the greater tranquillity of Weftern Europe.

It has generally been admitted that the fpread of illu-
mination in Ireland has been owing to the eftablifhment
of Chriftianity and the various monaftic fchools, of which
that of St. Columba (who was born a.d. 521), was the
moft renowned. We thus fee that religion has in all
ages been the handmaid of the Arts ; while laymen in
early times fpent large fums as offerings for the Church,
efpecially in the decoration of illuminated books ; thus a
field was now open for new countries to create diftindtive
fchools of pidorial embellifliment.

I o IntroduSlory .

The celebrated and unique Anglo-Irifh fchool, of which
fuch fine examples exift in the libraries of Dublin,
London, Oxford and a few other depofitories, flourilhed
from the 6th to the loth century ; fimultaneoufly, the
Anglo-Saxon, and abroad, the Charlemagne ftyle,
aflerted their diftindive features. The charadleriftics
of all thefe fchools remained in greater or lefs force till
the 1 2th century, when their more fpecial indications
gradually difappeared, or were merged into the next
prevailing ftyle. In the three following centuries the
monafteries maintained a regular eftablilhment, including
at leaft a ftafF of artifts, copyifts and binders, for the
production of illuminated books.

During this period fo many influences were at work,
that the greateft amount of defign, ingenuity, and ori-
ginality was difplayed in the produdlions either of native
or foreign artifts.

Several caufes contributed to the combination of
mingled charadleriftics in the fchools of illumination.

The internal commotions of England, from the time of
the Danifti and Norman conqueft to the period of the
Reformation, as well as her relations and wars with
foreign countries, influenced art MSS., and we can trace
in the tranfitional ftyle of illumination, the varied influ-
ences which brought about thefe changes.

Notwithftanding fuch fluduations, diftind fchools of
embellifliment were formed, difplaying fpecial features,
and caufing them always to be regarded as hiftoric divi-
fions in the chronology of illumination. The emigration
and conftant movements of the religious orders affeded
the hiftory of art MSS., for early miflionaries and others
in their travels failed not to carry their devotional and
fervice books with them, thus, unwittingly tranfporting

Hijiory. 1 1

defigns of one country into another. For example, at
Vienna, St. Gall, and Bobbio in Italy, places famed for
their monafteries, illuminated books of the Irifh fchool
of art have been found.

Religious fentiment entered largely into the treatment
of illuminated art, and it is interesting to obferve how
the chief incidents of Scripture and Catholic faith, are
rendered according to the fpirit of the time. Thus, at
the end of the 13th century, both at home and abroad,
the reproduction of certain figurative reprefentations was
abandoned, and inftead thereof, a vigorous tranfcription
from a6lual life was developed.

" We find alfo," fays a diftinguifhed authority. Sir
M. D. Wyatt, " that the miniature ornament of every
period, reflects on a diminifhed fcale, and frequently in a
highly concentrated form, the leading fpirit which per-
vades the greater revolutions of monumental art."

The wars of the Crufades, by bringing communi-
cation between Eaftern and Weftern Europe, led to a
change in art, efpecially by the re-introdu6hion of the
leading features of the Byzantine fchool on the medieval
page.

French and Flemifh illuminations may be faid to have
arifen partly, from the communication of Great Britain
with thofe countries, united with the fettlement of the
Flemings in England, and a variety of incidental circum-
ftances. In the latter fchool, the improvements in
pi6lorial art, introduced by Van Eyck, influenced to a
great extent the illuminifts of England and France, of
which, the pages of the celebrated Bedford Mifial, in
the Britifli Mufeum, the Pfalter, and Devotional Books
of the Due de Berri, in the Imperial (now National)
Library in Paris, are fome of many brilliant examples.

1 2 Introductory .

We muft not omit to mention the patronage and in-
fluence of Philip the Bold, Duke of Burgundy, as
regards the art of the Netherlands.

There are alfo inftances in which an affinity may be
traced between locality and certain fchools of illumina-
tion— for example, the decorative paintings executed in
the Norfolk churches indicate an influence from the
Netherlands, with which that country and eafl:ern Eng-
land was at one time in conftant intercourfe. Such
examples are numerous, and often ufeful in helping to
fix the date of MSS. and alfo in exhibiting one of the
mofl; interefl:ing hifl:orical phafes of illuminated and
pi6lorial art.

For about two centuries (1350- 1550) the Englifli,
French, and Flemifli fchools maintained their fupremacy,
receiving certain influences from other countries, but
fl:ill remaining difliindlive, and difplaying the greatefl;
variety of ornament and defign.

The patronage and employment of foreign artiflis by
Henry VIII. , and the revival of learning, caufed Italian,
Spanifli, and fome German examples of illumination to
be more generally difl^ufed.

The art of printing did not put a ftop to the labours
of the illuminator, for very fine examples of embellifli-
ment are frequently found in printed books, both on
vellum and paper.

The Renaiflance period afFeded the fl:yle of Art MSS.
equally with other pidlorial fubjefts, but even before
that time a greater influence almofl: defl:royed illumi-
nated work — viz., at the diflblution of the monafl:eries,
when perfons were appointed to fearch out and defliroy
all miflals, fervice, and books of hours, legends, &c.
In this way many enrichments of a popifli tendency and

Symbolifm. 1 3

other embellifhments, initial letters, the figure of the
Crofs, with fimilar allufions, were cut out or obliterated.

After the i6th century, the diftindlive fchools of
illumination died out, and no paintings of any confe-
quence were executed. From that time meagre imita-
tions of the worft ftyles were executed, and this fervile
copying exifted till the beginning of the prefent century,
when a re-a6tion took place, and mediaeval examples were
fought for ftudy.

After all the injuries and lofles by negledl, war, fire,
and time, thoufands of MSS. are ftill preferved, afford-
ing the beft ftudy for the hiftory of illuminated art,
inafmuch as they rejletf^ P^ge by page, the fuccelTive
advances of a nation, or fchool of thought, which,
during its progrefs, took the lead in intelledual or
artiftic development.

II. Symbolism

S nowhere more fully exemplified than in
illuminated MSS. The hiflory of fymbolifm
dates from remote times, as we find the early
Chriftians, in hatred to all images, reftridling their vifible
reprefentations of facred perfonages and adions to myflic
emblems. Thus the Crofs exprefTed Redemption; the
Fifh, Baptifm ; a Ship, the Church ; the Serpent, Sin or
the Spirit of Evil. Symbolic forms were almoft the
earlieft expreflion of devotional feeling ; the Chinefe,
Indians, and other Orientals worfhipped certain objefts to
which they attached a meaning. From thefe rude be-

14 Introdudlory.

ginnings, fymboHfm penetrated into facred and profane
fubjedls, then found a home among mofaics, illumina-
tions, paintings, mediaeval work, and fculpture, and only
died out when realifm fupplanted imagination, and the
typical was exchanged for the a6tual.

The connexion between Pagan and Chriftian art
(though repudiated by fome) holds a ftrong place in
the hiftory of fymbolifm, and fhows that Pagan forms
adapted to Chriftian meanings have been the great key
to Claffic-Chriftian art. It is but natural to fuppofe
that the early Chriftians adopted forms which were moft
frefh in their minds, and figures with which they were
beft converfant. Such conne6lion may be {^tw in the
tree round which the ferpent is twined, repeating the
chief features of the fable of the tree in the gardens of
the Hefperides, or by a tranfpofition of idea, in the
reprefentation of our Lord under the form of Orpheus,
and many fuch fimilar inftances. The walls and ceilings
of the catacombs in Rome offer many examples of
Pagan-chriflian forms, and we thus fee that almofl the
firft outlines of facred art were clothed in the clafTic
garb which continued to exifl, pofTibly, till the twelfth
century.

The purer faith arifing from the flruggle between
Paganifm and Chriftianity in the fourth century, led to
a revival of art in a new fpirit, caufing certain types to
be applied in illufliration of fuch change. An early
recorded reprefentation of our Saviour is in the charadler
of the Good Shepherd; the Virgin Mary, from diftant
time has always been regarded as the allegorical type of
religion in the abftrad: fenfe. The endlefs phafes of
fymbolifm are impofTible to enumerate, they can be better
ftudied in the MSS. themfelves. A few leading examples

Symbolifm. 1 5

will fhow the importance this fubjed holds in its con-
nexion with illuminated books.

The attributes of the Evangelifts are of frequent
occurrence, while fome of the characters and incidents of
Scripture fcenes ferve as typical pictures, viz., the Sacri-
fice oflfaac, of the Great Sacrifice — the Elevation of the
Brazen Serpent, the Crucifixion, — Jonah and the Whale,
the Refurredion.

The apoftles, faints and martyrs, are ufually known
by their attributes or emblems ; the cardinal and theolo-
gical virtues are alfo fymbolically exprefTed. The
alphabet (fo to fpeak) of fymbolifm embraces many-
figures, to each of which a meaning is attached, — of con-
flant recurrence are the nimbus, glory, aureole, triangle,
circle and fquare, either accompanying, or typifying
perfons and events.

The three perfons of the Godhead are ufually in-
veiled with one or other of the above mentioned forms,
which are alfo ufed, with certain modifications, in the
reprefentation of faints, martyrs, and dignified beings, &c.
The changes of form thefe attributes underwent, varying
with local influence, time, and other circumflances, is a
ftudy in itfelf ; fo, too, the portraits of God, as Father
and Son were conceived, altered and modified, according
to the growth, afcendancy, fluftuations or decline of
art-feeling. The difputes and differences in the Chriftian
Church found exprefTion in thefe ever-varying forms of
typical reprefentation, which, to the fludent, became a
hieroglyphic record of the changes the Church has
undergone, in fhort, a reflex of the flate of religious
feeling through many centuries.

So numerous are the forms employed to fymbolize
certain objedls, that but a few can be quoted, and thofe

1 6 IntroduBory.

of more immediate importance. The palm branch is
charafteriftic of, and accompanies martyrs ; the crown is
given to all royal faints; the roll' to prophets, the book
to apoftles and evangelifts ; birds, beafts, fifhes, trees and
flowers alfo play their part in fymbolic reprefentation ;
the {^YQXi doves, fignificant of the {Q.vzvi gifts of the
Spirit ; the twelve apoftles are often figured by twelve
lambs, baptifm by the fifli ; the tree of Life depidted
as the date palm is found in Chriftian mofaics, and on
this tree is often placed a phoenix, fymbolizing the
refurredlion.

Colour has a fignificance, gold being employed in con-
nection with faints of the higheft eminence ; filver next
in rank, while red, green and yellow have a certain
meaning. Indeed, there is hardly any figure taken from
animate or inanimate exiftence, which does not ferve to
exprefs fome fymbolic idea. The knowledge of fym-
bolifm is a firft necefTity to the comprehenfion and
enjoyment of Chriftian art, and nowhere can its hiftory
be better ftudied than in the page of an illuminated
manufcript.

^ Durandus declares that the roll fignifies imperfeft or partial know-
ledge, and the fquare book perfed intelligence ; " for this reafon," he
adds, " the former is given by fculptors and painters to the prophets,
becaufe to them the truth was only partially revealed ; but apoftles and
evangelifts, to whom the truth had been clearly unfolded, bear the
book."

PraBical Ufes. ij

III. Practical Uses.

ANY fee and admire the mafterpieces of illumi-
nated art, and often forget to enquire their
fignificance and ufe at the prefent day. In
this utilitarian age thefe examples are of intenfified value,
fervinCT as the main links which conned: us with the
paft hiftory of mankind. It would be idle to recount
how many fpecial advantages they prefent to the art
ftudent, antiquary and amateur. They are a key to
interpret the phafes of national charadler, coftume,
manners, life and thought of our anceftors. In them we
can pidture the battle-field, the tournament, the court,
the mediaeval banquet, and the " homes of other days."
Their decorative features alone are a ftudy, and fo long
as ftained glafs, frefcoes, enamel, pottery, tapeftry, mural
and colour ornament, are employed, one of the moft
valuable aids to their reprodudion or defign will be
found in the combinations of form, colour and eiFedl, feen
in illuminated books.

" By their affiftance," fays Sir M.D. Wyatt, in a learned
treatife,^ "we are enabled to reftore the moft brilliant
features of the hiftoric ftyles with accuracy, * * * * or
to ufe the materials they afford * * * * ^s the only bafis
of perfedlion and originality in any ftyles which we may
defire now or hereafter to originate."

The fpecial chara6ler of thefe beautiful volumes I

^ " Illuminated MSS. as illuftrative of" the Hiftory of the Arts of
Defign," Seffional Paper, Royal Inftitute of Britifh Architcdts, 410.
18 June, I 860.

C

1 8 IntroduBory.

leave to be enlarged upon by the gifted pen of Lady
Eaftlake, who thus writes: "Here, on thefe foiid and
well-nigh indeftrudible parchment folios, where text
and pidlure alternately take up the facred tale — the text
itfelf a picture, the pidlure a homily — the fkill of the
artift has exhaufted itfelf in fetting forth in pofitive
images the great fcheme of falvation. Sometimes thefe
miniatures fpread in folemn hierarchy over a whole page,
oftener and truer to their name they neftle in the
fpaces of initials, or capital letters, and in the medallions
of intricate borders.

Now they look upon us with the forms, coftumes,
and even the countenances as of another world ; then
again they claim affinity by feme touch of that common
nature which makes all men kin. Nowhere is fpace
loft, either within or without thefe venerable filver-
clafped and jewel-emboffed volumes, whofe very covers,
as we have feen, have afforded a field for fpecial branches
of artiftic handicraft. Nor was all this labour fpent in
vain ; their homes for centuries were in the filence of
the fandluary ; their authors have mingled with the duft
of the convent cemetery ; over them have pafled the
rife and fall of the kingdoms of this world ; but through
them hiftory has been tranfmitted with a continuity and
fulnefs not to be found in any other forms of Art, or^ it
may be faid, in any form of literature. For pidures
have fpeech and meaning where text is obfolete or
obfcure/

" The Pencil fpeaks the tongue of every land."

* " The Hiftory of our Lord, as exemplified in works of Art, with
that of his types.'' By the late Mrs. Jamefon. Continued and com-
pleted by Lady Eaftlake. 1S64.

General Defer ipt ion. 1 9

General Description.

IHE preface has explained that it is not the
author's intention to attempt a difcourfe upon
mediaeval art. This has already been ably done
in the pages of Shaw, Humphreys, Weft wood, Wyatt,
and others,^ who have drawn their materials from richer
fources than thofe from which this volume has been
fupplied,

Neverthelefs, the author feels that the Archiepifcopal
Library contains many treafures of mediasval art but little
known to ftudents in general. This fadt has probably
arifen from two caufes, viz.: the abfence of any detailed
defcription of the illuminated books, and that, up to a
recent period, freedom of accefs and liberty to examine
them has been befet with unavoidable difficulties, now
no longer exifting.

Under thefe circumftances, all thofe MSS. that can in
any way merit the attention of art ftudents are now
defcribed, arranged under countries and in order of date^

' " Drefles and Decorations of the Middle Ages, from the Seventh
to the Seventeenth Century," by Henry Shaw, F.S.A. 2 vols. 410.
Lond. 1843. " The Art of Illumination during the Middle Ages." 8vo.
Lond. 1866. " Decorative Arts, Ecclefiaftical and Civil, of the Middle
Ages." 8vo. Lond. 1851, " Illuminated Books of the Middle Ages,
from the Fourth to Seventeenth Centuries," by H. N. Humphreys
and Owen Jones. Fol. Lond. 1849. " Fac-fimiles of Miniatures and
Ornaments of Anglo-Saxon and Iiifh MSS.," by J. O. Wellwood.
Fol. Lond. 1868. " Palsographia facra Pifloria," by J. O. Weltwood.
4to. Lond. 1843-5. "Art of Illuminating, what it was, what it
fhould be, and how it may be pradifed, &c. An Efiay to a feries of
Plates by W. R. Tymms, by Sir M. D. Wyatt." Fol. Lond. i860.

20 General Defcription.

and as regards the finer examples, a full defcription of
their contents, both as to fubjedls and ornamentation,
has been given. ^

The number of volumes that can be called " illumi-
nated" is about thirty, and of thefe about fourteen prefent
examples of art, from the eighth to the fixteenth century,
of a very fuperior defcription.

'The Scriptures and Portions of them.

As in all noted libraries ecclefiaftical art prevailed over
other ftyles, the Sacred Scriptures and liturgical MSS.
were the earlieft books to which pidlorial art was
adapted.

Scripture fcenes formed a large component in the
embellifhment of MSS., and we may imagine that the
devotional fpirit of the middle ages depidled more
incidents from Sacred Writ than from any other fource.
Even when printing fuperfeded the labours of the copyift,
the fkill of the illuminator was ftill in requeft, and of
this a very beautiful example exifts in this library, in the
volume numbered 15, being, a very precious fpecimen of
a portion of the Mazarine Bible, printed in black letter,
and ornamented by an Englifh hand.

The Alcuin, Arnftein, Poitiers, and Berri Bibles, at
the Britifh Mufeum, fo well known to all lovers of
mediaeval art, are brilliant illuflrations of the decoration
of MSS. of this clafs, while many other fuch examples
can be feen, in public and private depofitories at home
and abroad.

* It is frequently almofl; impoffible to ftate with perfeft certainty,
the nationality of a MS., the greateil care has been obferved in this
claflification.

General Defer ipt ion. 2 r

Although the Lambeth Library pofTefles feveral fine
examples of the Scriptures in Latin, two only of thefe call
for particular mention, with reference to the art they
exhibit. Thefe are copies of what is termed St. Jerome's
verfion, written and illuminated in Germany in the twelfth
century, refembling, both in fize and ftyle of art, the
celebrated Arnftein Bible alluded to above.

The colledtion of early frinted Bibles, viz. Cover-
dale's, Tyndale's, and Cranmer's, with the ufual woodcuts,
is of much acknowledged intereft and rarity, and in a
fine ftate of prefervation.

Oi 'portions of the Scriptures fome very good examples
exift. At the head of thefe are the famed Gofpels of
Mac-Durnan, of that rare and peculiar Hiberno-Saxon
art, together with the printed copy of part of the New
Teftament above-mentioned. Next, follows a fine copy
of Hampole's " Expofition of the firft eighty-nine
Pfalms," exhibiting very good Englifh fifteenth century
art.

Laftly, three copies of the Apocalypfe, one of them
(209) fo remarkable as to merit a full and fpecial
defcription. This infpired fubjedl, teeming with poetry
and imagination, gave full fcope for the delineation of
all that was marvellous, fantaftic, and ftrange, in which
the mind of the middle age fo peculiarly delighted.
The Apocalypfe was a favourite theme with painters
and illuminators, who depidled the fcenes in various
ways, and we are not furprifed to find this fubjedl richer
in pictorial illuftrations than any other. Nor, was the
reprefentation of the vifion of St. John confined to MSS.
alone, it having appeared in mural paintings, ftained
glafs windows, early prints, and block books. One of
the chief decorations of the Baptifl:ery at Padua, is a

22 General Defcription.

fcene from this fubjecn: by the pencil of the Giottefchi,
treated with much originality and comprehenfivenefs.

Next in order is the clafs of MSS. called Liturgical,
viz. Miflals, Breviaries, Graduals, Pfalters, and Hours
of the Virgin. Thefe, in the Lambeth Library, are
about fourteen in number, of which the Pfalters and
Hours form the bulk.

The Mijfal,

As its name imports, contains all that was needful
for the celebration of the Mafs of the Weftern Church.
The fervice may be divided into the variable and the
invariable, the latter dating from at leaft a. d. 490. In
the Special Prayers, LefTons and Hymns for the Feftivals,
the feveral diocefes varied in their pradice one from
another fo giving rife to different Ufes, as thofe of York,
Sarum, Hereford, &c.

Examples of this clafs of fervice book are to be found
in every celebrated library, in England and abroad. At
Lambeth there exifts but one, calling for fpecial men-
tion, viz. that fo well known as the "Limoges Miffal,''
a beautiful fpecimen of French art.

The Breviary

Is fuppofed to be fo called from its containing, not
merely an arrangement but an abbreviation^ of the Divine
offices. In its full and fettled ftate in the twelfth and
thirteenth centuries, it contained the whole offices of the
canonical hours, throughout the year, of the great fefti-
vals, faints' days, Sundays, and week-days. Thefe were
arranged under their refpe<5live days, with rubrics direct-
ing to certain prayers, hymns, and pfalms, which occurred
frequently, or to the pfalter, which formed a portion of

General Defer iptton. 23

the volume. The Breviary, In fliort, may be faid to be
compofed of pfalms, hymns, lefTons of Scripture, abridged
lives of many faints, and different prayers, appropriate
for every day in the year.

Like the MifTal, there are various kinds in ufe by
difi^erent nations, diocefes and religious orders.

The rubrics of Breviaries in manufcripts will be found
to vary much in their fulnefs, as they happen to have
been written for the ufe of churches, or monafteries, of
which the Ordinal had been drawn up.

Of this clafs of fervice book, as of the Mlffal, the
library poiTefTes an exceedingly fine example, known as
the " Chicheley Breviary," from its having formerly
belonged to the Archbifhop of that name, and is faid to
be of the Sarum Ufe.

'The Gradual,

Or Gradale is fo called from the decrees contained in
it, and ranks with the fame clafs of manufcript as the
Proceffional, or fet of chants for procefTions. The Gra-
dual concerns the fprinkling of holy water, the proceeds
of the mafs, the holy office, Kyrie, Gloria in excelfis, and
all that relates to the choir, in the celebration of high
mafs. The volume illuftrating this clafs is a fine
example, probably in the Ufe of one of the diocefes of
this country.

The Pfalter,

Or book, in which the Pfalms were contained, was
frequently incorporated in the MifTal, Breviary, and other
Service books. When found as a feparate volume, it
contained the pfalms divided into certain portions for

24 General Defer ipt ion.

matins and the hours, fo as to be gone through in the
courfe of the week. The Pfalms, Evangelical Canticles,
and Athanafian Creed, were given with intonations.
Perhaps no book is more fully illuminated than the
Pfalter, of which examples are fcattered broadcaft in
libraries. The initial letters are often utilized to form
medallion pidlures of great beauty, taken from Bible
fcenes, and illuftrating the accompanying verfes, or certain
portions of the Pfalter.

The Calendar at the commencement, generally, has
pictures of the zodiacal figns, and the occupations of
the months, as hawking, hunting, the harveft, vintage,
and other like fubjedls. Thefe often difplayed a great
amount of ingenious defign, and many enchanting
fylvan fcenes, recalling the pencil of Watteau, or the
paftorals of Milton. At Lambeth, this clafs of fervice
book is well reprefented, there being no lefs than fix
copies, all more or lefs illuminated, and chiefly by artifts
of the French fchool. The volumes numbered 233,
^^"T^-, and 186, are more particularly deferving of notice.

Horcey or Books of Hours oj the Virgin.

The manufcripts fo termed cannot fliridly be called
Service books. Originally compiled for the ufe of the
laity, they were from their nature, more numerous than
any other Liturgical books. Their contents are very
varied, fometimes containing only the Office of the Hours,
fometimes a Litany, and a few occafional prayers, the
Dirige, the Seven Penitential Pfalms, the Joys of
the Virgin, Prayers of St. Gregory, Verfes of St.
Bernard, &c.

Thefe manufcripts were moft numerous in the fifteenth

General Defer iption. 25

and fixteenth centuries, their ornamentation richer, and
ftyle more bold and elegant than at any other period.

The margins began to be filled with conventional
foliage, enclofing fruit, flowers, birds, infedls, and occa-
fionally, jewels within its branches. A bare catalogue
of the many beautiful examples in public and private
colledions, would alone fill a volume.

The feledl prefTes of the Britifh Mufeum, Bodleian
Library at Oxford, and Fitzwilliam at Cambridge, are
replete with exquifite fpecimens in every ftyle of art,
many of them claiming kings, princes, and nobles as
their original pofTefTors, The great manufcript repofi-
tories in Paris, BrufTels, Munich, the Hague, and
elfewhere abroad, equal, if not furpafs, in number and
fplendour, the examples of our own land.

The Lambeth Library has five books of Hours, two
of which (numbers 459 and 474) contain very fair
fpecimens of Englifh ornamental art.

Mifcellaneous .

The remaining manufcripts which could not be ar-
ranged under either of the foregoing clafles, are eight in
number, and of thefe, five were written and illuminated
in England.

They are — The celebrated treatife of Aldhelm
" De Virginitate" (No. 200), alfo known as the Lambeth
Aldhelm, Hampole's Expofition of the firft eighty-
nine Pfalms (No. 34). The Meditations of St. Au-
guftine, Ambrofe, Bernard and others (No. 437).
The Chronicle of St. Albans (No. 6). Caxton's
Chronicle from Brute to Henry VL (No. 84). " The
Dides and Sayings of the Philofophers" (No. 265).

26 General Defer ipt ion.

Records concerning the Clergy, compiled at the re-
queft of Archbifhop Laud (No. 323). Laftly, two
fine copies of the " Koran " in Arabic, richly orna-
mented by Perfian artifts (Nos. 12 10, 121 1).

Several of thefe manufcripts call for, and have received
fpecial notice, independently of their artiftic value, from
the hiftoric afTociations connected with them.

There is little to be faid refpeding the other manu-
fcripts in this Library; embellifhed more or lefs by the
painter's hand. They are chiefly heraldic, and, beyond
the fadl that they contain coloured coats of arms, in no
way call for an artift's notice. As however they are few
in number, and many of them were written by, or be-
longed to the celebrated Cecil, Lord Burghley, the author
deems them worthy of a brief defcription, which will be
appended.

Of Engraved art, the library pofTefTes fome interefting
fpecimens, two of which deferve particular notice; viz.
A copy of '' La dance Macabre" printed on vellum and
illuftrated with thirty-five coloured engravings (No.
279); and a Book of Chriftian Prayers and Meditations,
which formerly belonged to Queen Elizabeth (No.
1049).

The general colledion of Illufl:rated printed Books
will be found defcribed in the concluding pages of this
manual.

HIBERNIAN ART.

HE Gospels of Mac Durnan.
Thick 0(5lavo, vellum, broad margins,
fF. 215, from 1 9 to 23 lines to the page.
Ninth century.

This, one of the moft precious and remarkable MSS,
at Lambeth, is an exceedingly beautiful and interefting
fpecimen of what is termed Irifh art, pra6lifed in that
country as early as the fifth century. The fineft examples
known of this ftyle, are the Book of Kells in Dublin,
the Durham MS. at the Britifh Mufeum, the Book of
Durrow, Trinity College, Dublin, and the Book of Deer,
in the Univerfity Library, Cambridge. From the in-
fcription upon fo. 4, thefe Gofpels appear to have been
written for, or in the pofleflion of Maslbrigid Mac Durnan,
or Maslbrigid the fon of Durnan, who was Abbot of
Derry and Bifhop of Armagh, in the ninth century and
who died about a.d. 927. A MS. note upon the fly-leaf
further records, " This book was a prefent from King
Athelftan to the city of Canterbury." * * * * There
are two curious grants in it, at the end of St. Mat-
thew, one of them from Canute, and four others at
the end of St. Mark." It appears to have remained
at Canterbury, until the difTolution of the monafleries,
how it came to its prefent place of depofit is unknown.

2 8 Hibernian Art.

This MS. contains the four Gofpels in Latin, in the
Irifh characfter, written in an exquifitely clear and fharp
minufcule hand, towards the end of the ninth century.

Each Gofpel is preceded by a feated figure of the
EvangeHft, moft grotefquely dehneated, fupporting a
book in one hand, whilft the other holds a paftoral ftafF,
beUeved, by Profefibr Weftwood, to be the only reprefen-
tation on record of that emblem of authority of the early
Irifh bifhops.

Each figure is fet within an exquifite framework of
interlaced ornament, compofed of delicate, fine and clofely
wrought lines, twifted and woven into intricate knots.
The defigns of the celebrated early monumental and
other crofles of Ireland, alfo afford examples of this
fpecial and beautiful ftyle of ornamentation. The
commencement of each Gofpel, which, in all cafes
but that of St. Matthew, occurs upon the third page
from the figure of the Evangelift, is furrounded by a
fimilarly elaborate framework ; whilft, in addition, the
firft word of the text is wrought In with the ornamenta-
tion of the page, in a fanciful and graceful manner.

Four illuftrations of the life of Chrift, painted by a
French artift, towards the end of the thirteenth or be-
ginning of the fourteenth century, form the remaining
embellifhments of this exquifite little volume. Three of
thefe are, ftrangely enough, inferted between the figures of
the Evangelifts and the commencement of each Gofpel,
thus interfering with the continuity and beauty of the
defign.

The order of contents is as follows :

I. A fquare ornament of interlaced work, forming a
crofs in the four corners of which are the Evangeilftic
Symbols. Fo. i b.

Anglo-Saxon Art.

29

II, The figures of the four Evangelifts, Ff. 4^, 70 b,
115^, and 170 b.

III, The commencement of the Four Gofpels. Ff. 5,
72, 117 and 172. The firft words of each, viz., Chrifti,
Initium, Quiquidem, and In principio, are larger than
the reft of the text, and the letters fancifully difpofed.

IV, The four illuminations by a French hand men-
tioned above, reprefenting the Crucifixion, Scourging,
Betrayal, and Entombment of our Lord. Ff. 4, 71,
1 16, and 171. The firft of thefe is faftened to the leaf,
upon which is painted the figure of St. Matthew, the
other three have the verfo of the leaf blank.

ANGLO-SAXON ART.

No. 200.

LDHELM " De Virglnitate." Small
folio; vellum and paper; fF, 229. Tenth
century.

A volume of Mifcellaneous Treatifes in Latin,
ranging from the tenth to the fifteenth century, written
partly on vellum, partly on paper. The chief, and
the only Treatife to which the illuminator's art has
been applied, is the well-known one of Aldhelm, Bifhop
of Sherborne, " De Virginitate," which occurs between
folios 67 and 1 1 1 of the volume.

The text is well written, with about thirty-two lines to
the page, the margins are broad, and the monotony of
the writing is relieved by a profufion of fmall interlaced
initial letters, in black, of the fkeleton form fo frequently
found in Irifh MSS. of this period. The principal

30 Anglo-Saxon Art.

ornament confifts in the (to ftudents) well-known outline
drawing, engraved by Strutt, in his " Drefs and Habits
of the people of England ;" and, at a later date, prefixed
to Dr. Todd's catalogue of the Archiepifcopal Manu-
fcripts, at Lambeth." It reprefents an Abbefs and her
eight attendants, receiving at the hands of the Bifhop a
copy of his treatife, " De Virginitate." The drawing is
delicate and interefting, and moft valuable as delineating
the coftume and ftyle of art at that early period. On
the oppofite page is the title, or dedication of the treatife,
in green and red letters, fet within a handfome frame-
work of interlaced ornaments, with a fine initial letter
J. forming part of the firft word Jam.

It may not be out of place to name here that No. 1069
in this library contains a feledlion of outline engravings,
taken from a valuable Anglo-Saxon MS. at the Bodleian
library, intituled " Casdmonis monachi, Paraphrafis
Poetica Genefios," publifhed by Francifcus Junius, at
Amfterdam, in 4to. 1655, ^^"^ engraven by private fub-
fcription in 1758, by Benjamin Green, engraver in Ox-
ford, and prefented to the Lambeth Library, April 26 th,
1760, by Dr. Ducarel.

The engravings are fifteen in number, delineating the
following fubje6ls, adapted from texts of fcripture, &c.

I. *' In forrow fhalt thou bring forth children."
Gen. iii. 16.

1. The employments of Cain and Abel ; the offerings
of the flocks of Abel, and murder of Abel. Gen. iv.
4, 10.

3. The curfe of Cain ; the building of the city called
Enoch. Gen. i v. 12, 17.

4. The employments of Jubal and Tubal Cain.
Gen. iv. 21, 22.

Englijh Art. 3 i

5. The defcendants of Enos. Gen. v. 9.

6. A figure (probably) of Cainan. Gen. v. 12.

7. The death of Mahalaleel. G^;/. v. 17.

8. The children of Lamech and Noah. Gen. v. 29, 32.

9. " Make thee an ark of Gopher wood." Gen. v'l. 14.

10. The entry into the ark. Gen. vii. 16.

11. Noah as a hufbandman, planting a vineyard. Gen.
ix. 20.

1 2. The building of the City of Babel. Gen. xi. 4, 7.

13. The confufion of tongues. Gen. xi. 9.

14. Abraham building an altar to the Lord. Gen.xn./^,

15. Abraham entering Egypt, with Sarai his wife.
Gen. xii. 11.

ENGLISH ART.

No. 69.

HE Chichele Breviary. Large folio,
fine vellum, fF. 414, double columns of
about forty lines to the column. Early
fifteenth century.

This fplendid manufcript contains the form of daily
office or devotion, to be recited by every catholic mi-
nifter, from the moment he is initiated into Holy Orders.
It is beautifully and clearly written in a fmall fquare
gothic charader, and is richly embellifhed with marginal
ornaments, and a profufion of initial letters of Englifh
art of the firft clafs.

The centres of the larger initials are filled in with ex-

22 EngliJIi Art.

quifite miniature reprefentations of Scripture hiftory, the
more important of which will be found defcribed below.
The floreated fcroU-like ornaments of the letters are very-
beautiful, the firft leaf of the MS. contains the arms of
the former poflefTor, Archbifhop Chichele, viz., or, a
chevron, between three cinque foils, gules. The fame
fhield is painted upon the borders in feveral parts of the
volume.

The principal fubje6ts delineated are ;

A Bifhop catechizing or expounding to his priefts.
Fo. I.

The Annunciation (two reprefentations). Fo. 4^.

fo. 313.

The Nativity. Fo. idb.

The Baptifm, fo. c^^. The Refurre6lion, fo. ii8^.

The Afcenfion of our Lord. Fo. 137.

The day of Pentecoft. Fo. 141.

The Holy Trinity (two reprefentations). Fo. 145-^.
Fo. 242.

" In fefto Corporis Chrifti." Fo. 148^'. An aged
King (Melchifedeck ?), {landing, holding a gold chalice,
above which appears the confecrated wafer, which is
being received by the foremoft of a group of foldiers in
armour (temp. Henr. IV.) ; behind the King is a group
of priefts.

Confecration of a Church. Fo. 192^.

Here the Calendar occurs, and the entries of the days
in each month are in letters of green, red, black, blue
and gold. Fo. 203.

" Beatus vir qui non abiit." Fo. 209. An aged
man, holding in his left hand a gold chalice, touches
with his right the forehead of a youth, apparently
a ftiepherd, at whofe feet lies an inftrument in the form

Chic he le Breviary. 3^

of a fling or flail ; eleven flieep are grazing in the
country around. (Samuel anointing David, King over
Ifrael.)

*' Dominus illuminatio mea." Two kings feated,
crowned, one of whom plays upon a harp. Fo. i\t^h.

David prefents himfelf at the gate of a caftle ; the
decapitated head and body of Goliath ? are near.
Fo. 219^.

" Dixit infipiens in corde fuo." A patient in bed,
attended on by a female figure ; the form of another per-
fon is {^^Vi retreating by the door. Fo. iii^b.

" Salvum me fac, Domine." Saul cafliing a fpear at
David. Fo, 227^^.

St. Barbara in the Tower where fhe was incarcerated by
her father. Fo. 232.

David playing before the Ark. Fo. 237.

The efiigies of St. John, St. Luke, St. Peter, and
others. Fo. 261.

Martyrdom of St. Andrew. Fo. 282.

Prefentatlon in the Temple. Fo. 300^.

St. John the Baptifl: in the Wildernefs. Fo. 329*^.

SS. Peter and Paul with their refpedtive fymbols.

Fo- 334.

A Reliquary placed on the Altar. Fo. 342.

Afliimption of the Virgin. Fo. 2^2>-

A genealogical or Jefl'e Tree. Fo. 213^-

The Saviour in glory, on either fide the Virgin and

Saints, in attitude of prayer. Below, lies the figure of a

monk, habited in black, refting upon his arm, apparently

afleep. Fo. 394*^.

34 Englijh Art.

No. 15.

EW Testament. Large folio, 16 inches
by 12, vellum, ff. 128, double columns,
42 lines to a column. Fifteenth century.

This volume, which contains a printed copy of the
New" Teftament of the Vulgate verfion, is entered and
defcribed as a manufcript by Dr. Todd, in his Catalogue
of the Lambeth Library, who was probably deceived as
to its real charadler by the fine illuminated letters and
rich ornamentation with which it abounds. Upon ex-
amination, it has proved to be a fine copy of the New
Teftament portion of the fo-called Mazarine Bible, moft
probably of the edition printed by Gutenberg and Fuft
at Mentz, between the years 1450 and 1455, and is
reputed to be the firft book printed with moveable
metal types.

The Mazarine Bible, commonly fo-called from the
firft copy having been difcovered by M. de Bure in the
library of Cardinal Mazarine, is the earlieft printed edi-
tion of the Bible known.

This Bible is of great rarity and value, and indeed, a
typographical curiofity, from the fa(5l of the perfeftion
of the printing at the time when that art was well nigh in
its infancy. Added to this, the beauty of the vellum or
paper on which it is printed, and the general magnificence
of the work, caufes it to be held in very high eftimation.
Perfe^ vellum copies are indeed few, and are faid to be
reftridled to the libraries of Paris, Berlin, and the Britifli
Mufeum, and one in the pofTeftion of Henry Perkins, Efq.

Thofe on paper, both in public and private colledions,
are faid to be about twenty in number.

New Tejlament. 3^

The prefent copy has been collated with the cele-
brated one in the Grenville Library at the Britifli
Mufeum, and found to be complete from the beginning
of St. Jerome's Prologue to St. Matthew's Gofpel to the
end of the Apocalypfe. It is in a perfe(5l ftate of prefer-
vation, the vellum foft and pure, and the margins from
2| inches to 3 inches in width. The illuminated por-
tion is by an Englifh hand. The foliage, which is made
to grow out of the larger initials, is bold and elegant, and
the colours vivid and brilliant. The incipits and explicits
are rubricated, as are likewife the headings in the upper
margin of each page.

One thing conneded with this book is particularly
worthy of obfervation, viz., that the vellum is ruled with
horizontal and perpendicular lines, as if prepared for
manufcrlpts, in the form nearly always adopted by the
early copyifts, the text being printed between the lines, as
nearly as might be. This is not the cafe with the Gren-
ville copy.

It is alfo interefting to record that the writing, Novi
teftamenti verfio vulgata Latina^ on the fly-leaf is pofTibly
that of Bifliop Gibfon, who was Librarian at Lambeth.

No. 34.
ICKLIFFE'S Exposition. Large folio,
ftout vellum, ff. 215, double columns,
fifty-tw^o lines to the column. Early
fifteenth century.

A very fine copy of Wickliffe's^ Expofition of the firft
eighty-nine Pfalms, with broad margins, well written in old

' "Hampole"?

36 Englijh Art.

Englifh, in a Gothic charader, and elegantly ornamented
in different parts with borders or brackets of colours
and biirnifhed gold. Each bracket terminates at the four
corners, either with a fquare interlaced ornament, or with
inter-twining foliage. There are no large illuminations,
nor illuminated initial letters, fave in the pages where
the brackets appear, and thefe are in fimple colours of
pink and blue, upon backgrounds of burnifhed gold.
See ff. I, i^, 43^, yoi', loob^ 118, 161.

The covers of the book are ftamped with the arms
and initials (R.B.) of Richard Bancroft, Archbifhop of
Canterbury, (1597- 1604) the founder of the Library.

A note upon the fly-leaf records that,

'*In y^ Kyngs Library, Weftminfter, E 1512 there is
a copy which agrees exadly with y* and before the Pro-
logue to y' is wrote with red ink as follows :

" Here bigynneth the Prologe uppon the Sauter that
Richard Heremyte of Hampole tranflated into Englyfshe
aftir the fentence of Dodlours and Refun."

No. 459.

OURS OF THE Virgin. Small quarto,
vellum, ff. 103. Early fifteenth century.

A pretty copy of this clafs of Service Book,
neatly written, and illuminated by an Englifh hand.
The illuminations are twenty in number, of which
three are nearly of the full fize of the page, and in
the ufual ftyle of art. The border patterns, though
few In number, are painted upon a background of gold,
many of the fmall capitals are alfo of gold, fet off with
pink and blue. The full page borders are extremely

Hours of the Virgin ; Treatifes. 37

bold in defign, terminating in flowers, fruit, or other
devices, and the prevaihng colours are pink, blue and
orange. The diaper pattern is much ufed as a back-
ground for the miniatures.

The following fubjedls are reprefented :

St, Jerome. Fo. y2>^.

The Refurrecflion of our Saviour. Fo. 85.

Chrift appearing to Mary Magdalene. Fo. Z^b. To
the three Maries. Fo. 86. To St. James. Fo. %Gb.

The Difciples find the tomb empty. Fo. 87.

Chrift at Emmaus. Fo. 87^.

His Appearance before his difciples. Fo. 2)Zb.

The Nativity. Fo. 89.

The Circumcifion. Fo. 89^.

The Difputation in the Temple. Fo. 92.

Baptifm of our Lord. Fo. 92^.

Chrift waftiing the feet of his difciples. Fo. 93*^.

His agony in the garden. Fo. 94.

Peter draws his fword ; feizure of Chrift. Fo. 97/-,

Chrift before Pilate. Fo. 99*^.

The Scourging of Chrift. Fo. 100^.

The nailing to the Crofs. Fo. lOi;^.

The Crucifixion. Fo. 102^.

Defcent from the Crofs. Fo. 103^^.

No. 437.

REATISES, &c. Small quarto, ftout
vellum, ff. 147. Fifteenth century.

A volume of mifcellaneous Treatifes, chiefly confifting
of Meditations by St. Auguftine, St. Ambrofe and other
Saints, written upon fair vellum and ranging between

38 EngliJJi Art.

the thirteenth and fifteenth centuries. It is with the firft
MS. in the volume, viz. Meditatio de Spiritu Sando,
the Meditation upon the Holy Ghoft by St. Auguftine
(if. 1-40) that we have to do.

This MS. is neatly written upon fair vellum, with about
thirty-one lines to a page. There is no'large illumination,
but the ornament confifts in border decoration, |^and
initial letters, the latter being of gold, with a pleafing
defign of floriated ornament, fl:arting out at right angles
into the broad margins. A pale green is much ufed for
the body of the initial letters, as well as for the border
ornament.

No. 265.

HE DiCTEs AND Sayinges of the Phi-
losophers. Small folio, vellum, ff. 107,
24 lines to the page. Fifteenth century.

"Tranflated oute of Latyn into Frenfhe, by Meffire
lohan de Teonville, and from thence rendered into
Englilh by Antony Wydville, Earl Rivers."

Such is the title by which this interefting little MS. is
defcribed in the Catalogue. The text, which is neatly
written in a pointed charadler, with ink of a pale brown
colour, is preceded by an illuminated miniature, of
excellent art. In this, the author, drefl*ed in a furcoat
emblazoned with his family arms, is reprefented as in-
troducing a tonfured perfonage, who, kneeling, prefents
a copy of the work to King Edward IV. accompanied by
his Queen, and their fon. Prince Edward, afterwards
Edward V., with their court.

From the circumftance of Caxton having^printed the

Di£fes and Sayinges ; Hours of the Virgin. 39

work at the expenfe of Earl Rivers in 1477, it has been
conjedured by Walpole (who has given an engraving of
the miniature in his " Royal and noble authors,") and
others, that the kneeling figure is intended to reprefent
that celebrated printer.

Caxton, however, was no prieft, which the perfon repre-
fented, from his tonfured head, muft have been. Be
this as it may, the pidture is one of great intereft, well
grouped, and difplaying much decorative detail in the
coftume and furroundings.

It has alfo been engraved by Strutt, in 1774, and a
note on the infide cover of the MS. records this as the
only drawing known to be extant of Edward V.

The reprefentation of an author prefenting his book
to his patron, is a favourite fubjedt in illuminated MSS.
and highly interefting, as giving portraits of kings and
princes, as well as literary men, of whom we fhould have
no memorials, but for thefe drawings.

The initial letters in this MS. are fomewhat Italian in
charadler, being of burnifhed gold outlined with black,
a white floriated interlaced ornament, flightly fhaded,
filling in the background of each letter, a uniform
arrangement throughout the MS. which prefents a
fingular, but pleafing effedt.

No. 474.

OURS OF THE Virgin. Quarto vellum,
ff. 184, 18 lines to a page. Early fif-
teenth century.

This, a very nice example, is fairly written, and orna-
mented with a profufion of beautiful illuminated initials

40 Englijh Art.

of Englifh art. The volume contains but two miniature
paintings, the remainder, ufually found in MSS. of this
clafs, having been abftradled. Their fubjeds are, the
Annunciation, reprefented in the letter D at fo. 15, and
a group of priefts chanting the Service for the Dead,
fo. 72.

The initial letters vary in fize and pattern, they are
all upon backgrounds of gold, and frequently form, with
their finials, fhort marginal ornaments of elegant tracery
work. Pink, blue, and orange-brown are the prevailing
colours, the blue being often heightened on the outer
edge with flat white tints. The larger initials are ricii
in defign, and varied in their colouring, and would fupply
the artift or amateur with abundant material for ftudy.

At fo. 15 occurs an exquifite border of fcroll-work,
with heads, probably of faints, in medallions, beautifully
executed. This MS. is better written than No. 459,
and differs from it as to the contents, having many
rhythmical prayers at the end. The binding, with but
one clafp remaining, is of the 17th century.

No. 7.

RADUAL. Large folio, ftout vellum,
fF. 193. Second half of fifteenth century.

A fine copy of this clafs of Service Book, well written,
with the mufic appointed to be fung at the various fervices
(thirteen lines to the page), and rubricated inftrudlions
for performing the fame throughout the volume.

The art confifts in initial letters only, the greater part
of which are fmall, with grotefque heads, &c., in outline,

Gradual ; Caxtons Chronicle. 4 1

fo frequently {tzw in MSS. written in England towards
the clofe of the 15th century.

At the end of the volume is a Calendar, printed in
neat Gothic type, upon vellum, not quite fo large as
that of the MS. itfelf. The principal feafts and faints'
days are rubricated. At the foot of each month are lines
in Latin, defcriptive of the figns and feafons. The
margins are broad, more efpecially the lower one ; upon
the latter, at about an inch below the text, there occurs
upon the redto of every page a line of white circles,
about thirteen in number, and more than a quarter of an
inch in diameter, impreffed into the vellum. At firft
fight, thefe marks appear to be circles only, but upon ex-
amination, the mediaeval forms of the letters G, M, and
Q can be detedled. It cannot be difcovered that they
form either words or dates.

No. 84.

AXTON'S Chronicle. Thick folio,
flout vellum, ff. 202, about 41 lines to a
page. Fifteenth century.

This MS. has no claim to notice here, with reference
to the art it exhibits, there being but one poorly exe-
cuted drawing in the volume. This drawing (fo. i) is
enclofed in an architedlural framework, and reprefents
King Henry VI. feated beneath a canopy, addreffing his
courtiers and attendants, fome of whom are ladies. The
text, which is clearly written, has rubricated headings.

It is ftated by Dr. Todd, in his Catalogue of MSS. at
Lambeth, before referred to, that " it differs greatly from
the Chronicle of England, printed by Caxtoa in 1480,

42 Flemijh Art.

and is much more diffufe. It is imperfedt at the clofe,
concluding with thefe words, And aftyr that came a gret
dethe of pejlilence that lajied iij yer. And peple dyed
myhtely in every place man woman and chylde^ on whos
Joulys God haue mercy. Amen.'"

The Chronicle extends from Brute to the beginning of
the reign of Henry VI.

At the foot of fo. I is the word "Lumley," fhewing
that the volume formerly belonged to that illuftrious
book collector, whofe name alfo appears on other books
and MSS. in this library.

FLEMISH ART.

No. 1 86.

ISALTER. Folio vellum, ff. 167; 22
lines to a page. Fifteenth century.

A very nice example, well written in a
fine, bold, Gothic charadier, with clear, broad margins.
The ornamental portion of this MS. coniifts entirely
in the initial letters and fcroll-work, depending there-
from. The defigns of thefe are of an unufual and
pleafing kind ; the centre ornament in moft cafes repre-
sents a cone, ifluing from conventional foliage.

The marginal ornaments confift for the moft part of
filigree-work of blue and gold, iffuing from the fmaller
initial letters ; this is more particularly noticeable in the
calendar prefixed to the MS. ; the ornament proceeding

P falter. 43

from the illuminated KL at the commencement of each
month, extending itfelf round the entire page.

There are no full-page illuminations, and the only-
miniature paintings are to be found in the initial B at
fo. I, and in the letter D at fo. 109,

In the former of thefe. King David is reprefented
within a walled garden, kneeling in prayer or fupplication.
By his fide, reft his harp and crown, whilft above, is the
figure of the Almighty ifliiing from the ftarry firmament.

The face and robe of the King are exquifitely finifiied ;
the border furrounding this page is compofed of the
ftrawberry plant, pinks, and daifies, artiftically arranged;
in the right hand margin, is a peacock, whilft in the lower,
repofes a ftag, amongft flowers and ornamental devices.

In the letter D, fo. 109, are depided the Three perfons
of the Trinity, after the ufual conventional form ; the
Father and Son are feated, an open volume refts upon the
knees of both figures, whilft in the centre is the Dove
defcending. Behind them is ftretched a drapery of blue,
heightened with gold. Surrounding this page is a
border compofed of flowers, fimilar to that above de-
fcribed at fo. i, and difpofed in a bold and efl^edtive
manner.

In the lower margin, is a reprefentation of a peacock
difplaying his plumage, with a monkey and an owl on
either fide, very nicely painted.

Of the remaining initial letters at fiF. 19^, 32^, 45, 58,
74 and 91, it will be fufiicient to fay that they moftly
exhibit examples of the cone-like defign above-men-
tioned, drawn with a free hand upon a background of
burniflied gold.

44 Flemijh Art.

No. 4^5.

OURS OF THE Virgin. Vellum, ff. 143.
Fifteenth century.

This example is in fair prefervation, and profufely,
if not artiftically illuminated ; feveral of the larger
paintings have fuffered from damp, or been otherwife
injured. They are unequal in point of merit, and the
MS. probably owes its apparently unmutilated condition
to the poornefs of the art reprefented. The fubjec5ls
illuftrated are numerous, and fuch as are ufually found
in MSS. of this clafs. A lift of them will be found
below. The backgrounds are chiefly of a diapered pat-
tern, with here and there a landfcape reprefentation.
The borders are compofed of the well-known defigns in
which the wild ftrawberry, rofe, panfy, daify, and other
flowers, all take part, and are interlaced in graceful
forms. The initial letters form no inconfiderable feature
in the ornamentation of the MS., the interwoven branch-
like defign being painted in vivid colours, upon back-
grounds of burniflied gold.

The following fubjedls are reprefented :

Our Lord ftanding, the fymbolic globe at his feet.
Fo. 7<^,

The Trinity. Fo. 13^.

St. John the Baptift, with the Lamb and the Book.
Fo. \^b.

Murder of St. Thomas a Becket. Fo. 18*^.

St. George and the Dragon. Fo. loh.

St. Chriftopher. Fo. iih.

St. Anna (painting injured). Fo. i\h.

Hours oj the Fir gin. 4^

St. Catherine. Fo. i-jb.

St. Margaret. Fo. 30/". The Annunciation. Fo. 32.

Chrift led to Crucifixion. Fo. 37^'. The Virgin
and St. Anne. Fo. 38.

Defcent of the Holy Spirit. Fo. 43^.

St. Andrew. Fo. 44.

St. Laurence. Fo, 44*^. All Saints, Fo. 45/^,

Chrift brought before Pilate. Fo. 47. The Nativity.
Fo. 48.

The Scourging of Chrift, Fo. 51^.

The Appearance to the Shepherds. Fo. 52.

Chrift bearing his Crofs. Fo. 54/^.

The Wife Men's Offerings. Fo. ^^.

The Prefentation in the Temple. Fo. 57.

The Defcent from the Crofs. Fo. 59^.

The Murder of the Innocents. Fo. 60.

The Flight into Egypt. Fo. 62.

The Virgin and Child in Glory. Fo. Sc^b.

The Dead Chrift in the arms of the Virgin. Fo. 70.

Prefentation of the Virgin Mary. Fo. 75.

Chrift nailed to the Crofs. Fo. 77/^,

The ''3" Crofles. Fo. 78.

The Head of Chrift. Fo. 78.

The Wound in the right hand. Fo. 7 Si-.

The Raifing of Lazarus. (?) Fo. ^6b.

The Righteous carried to Heaven. Fo. 115^.

Our Lord furrounded by the Inftruments of the
Paffion. Fo. 126^.

St. Jerome in his Study, Fo. 132/'.

46 French Art.

FRENCH ART.

No. 368.

SALTER. Quarto. Vellum, twenty-
one lines to a page. Ff. 141. End of
thirteenth or early fourteenth century.

This copy is poorly written, and the art not of a
high clafs. At the commencement of the volume, are
fix full page illuminations, painted upon backgrounds
of burnifhed gold.

The fubjedls are as follows :

The Annunciation. Fo. 10. Meeting of Mary and
Elizabeth. Fo. \oh. The Virgin and Child. Fo, 11.

The Crucifixion, with the figures of the Virgin Mary
and St. John. Fo. \\b.

The Refurredion. Here, the foldiers are clad in lo-
zenge-fhaped and in chain armour ; the heads covered
with a coif of the fame. Fo. 1 2.

Chrift as Judge. Beneath the feet is a fphere, upon
which is infcribed the word HEUROPE. Fo. i ih.

The Calendar, which precedes, is pretty, being rubri-
cated, with the initial letters of the Kalends and Ides,
in burnifiied gold. The figns of the Zodiac in fmall
medallions, are placed at the foot of each month.
The other fubjedls illufl:rated are :

Jonah taken and reje6led by the whale. Letter S.
Fo. 51.

Pfalter ; Apocalypfe. 47

David playing upon the Bells. Letter E. " Exultate
Deo." Fo. G^.

Ecclefiaftics chaunting the Service. Letter C. " Can-
tate Domino." Fo. 791^.

Figure of an Ecclefiaftic feated at a delk reading. Letter
D. "Domine exaudi oracionem meam." Fo. 81^.

A Saint Veronica. Fo. 95*^.

Our Lord feated in Glory. At his feet, the fymbolic
globe in reference to the words, " Sit thou on my right
hand until I make thine enemies my footftool." Letter
D. " Dixit Dominus," Fo. 97.

The initial letters are plain, and have in fome cafes,
the ufual angular finial of the period ; the bands or
marks dividing the verfes of the text, are of a light and
fomewhat elegant pattern, introducing the ziz-zag, chain,
cable, and other devices.

No. 209.

POCALYPSE. Small folio; flout vel-
lum; fF. 53. Beginning of the four-
teenth century.

This fine and highly interefling MS. known as the

** Lambeth Apocalypfe " is, without queflion, one of the

gems of the library, and offers a rare field for ftudy to

the artifl, archaeologift, and fludent of biblical literature.

Its contents may be divided into three parts, viz.

I ft. The Apocalypfe, in Latiriy with explanatory notes.

2nd. Effigies of various Saints, and Martyrs.

3rd. Pidorial illuflrations of mediaeval Legends.

The Apocalypfe formed a theme for illumination from
early times, a few inftances being on record of the fub-

48 French Art.

jed being painted by the Saxon fchool, in England, and
that of Charlemagne, abroad ; but the eleventh, twelfth,
and thirteenth centuries are thofe in which the vifion is
of moft frequent reprefentation in illuminated art.

The application of fome of the fcenes to the events
of the laft days of Roman hiftory, and the perfecution of
the Chriftians, unfolds a tale of extraordinary intereft, in
its various treatments on the illuminated page. Rome
herfelf is pidured under the figure of the Beaft, and
other allufions to the Chriftian and Pagan world are
numerous.

The Lambeth Apocalypse, which extends from folio
I to folio 39*^, contains feventy-eight coloured defigns,
illuftrating the chief pafTages of that -myfterious Vifion,
remarkable for the fpirited form of the drawing, and the
brilliancy of the colouring, heightened by the back-
grounds of burnirhed gold, or dark blue, with which
moft of the illuminations are accompanied.

The proportions of the figures are fomewhat long, the
hands and feet rather fmall and thin ; but the general
treatment and grouping of each fcene is very harmo-
nious, while the outhnes and folds of the drapery,
heightened with white, are drawn with much finifh and
elegance. Some acceflbries depi6ling armour, architec-
tural details and minor fubjedts, are alfo reprefented.

The Apocalyptic defigns, which occupy the upper
half of the page, are accompanied by the text in double
columns, in gothic charader, with a profufion of fmall
illuminated initial letters, of the ufual filigree pattern,
with finials and other marginal embellifhments.

Prefixed to folio i, is the full-length painting of a
prieft, habited in a black robe with hanging fleeve, and
wearing the tonfure. In front of him ftands a pedeftal,

Y,ly/(^t^^^^<J^''^^^S'^^ ^^^.-fV^r<?> r :\- r/'^"^

&<-f-^"^ -^^^^t^^^n^t^^-x ^-S^^Ji cf^J

Apocalypfe. 49

upon which is placed a figure of the Virgin and Child,
which he appears to be in the a6t of colouring. In his
right hand he holds a pen or brufh, and in his left, a
kind of faucer containing colours. The head, the cha-
racter of which is very expreffive, is in outline. Above
the figure is written, " Memento mei arnica Dei,'' in
rubricated letters.

The fubje(5ls of the Vifion are in general fo well known,
that it is thought fit to mention thofe only that are
pi£iorially interefting, viz. :

St. John vifited by an Angel, in the Ifle of Patmos.
Fo. I.

St. John before the Son of Man, out of whofe mouth
went the fword, in the prefence of the Seven Angels
and the Seven Golden Candlefticks. Fo. \b.

The Deity (on the throne), holding the book fealed
with (tYtn feals, the worfhip of the four-and-twenty
Elders. Fo. 3.

The Lamb, with the feven horns, and feven eyes, fur-
rounded by the four fymbolic animals and the Elders.
Fo. i^b.

The Lamb holding the book. Fo. 4.

The feveral Horfes of the Vifion, white, red, black,
and pale, their riders, reprefented with the refpeftive
accompaniments of the bow, the fword, the balances and
death. Ff. ^b, 5, 5/^, 6.

The Souls of the Martyrs flain for the word of God.
Fo. 6b.

The Four Angels fl:anding on the four corners of the
earth. Fo. 7^.

The Song of the great Multitude in worftiip ; the
Elder and St. John, the four Apocalyptic animals fur-
rounding the throne of God and the Lamb. Fo. 8.

E

50 French Art.

The OfFering of the Golden Cenfer, with the Prayers
of the Saints ; the Seven Angels with trumpets, (landing
before the golden altar. Fo. %h.

The various Phenomena produced by the angels
founding the trumpets. Ff. 9, 9^, 10, 10^, 11.

The Vifion of the Locufts fhaped like unto horfes,
the riders are reprefented in full armour. Fo. i \b.

The Angel, with a rainbow upon his head and book
in hand, {landing upon the fea and the earth, declaring
time fhall be no longer. Fo. 12.

St. John, commanded by the angel to rife and meafure
the Temple of God and the Altar, wherein are the two
candlefticks. Fo. \ib.

The two WitnefTes afcending to heaven. Fo. 14.

The worfhip of the four-and-twenty Elders. Fo. 14^.

The feven-headed Dragon ftanding before the Woman
clothed with the fun. Fo. 15.

The Woman, flying from the Dragon, cafting out water
as a flood. Fo. 16/^.

The two Beafl:s, one like to a leopard, rifing out of
the fea, the other the feven-headed dragon. Fo. lyi^.

The worfliip of the Beafl:. Ff. 18-^, 19^, 20.

The Lamb on Mount Sion, the faithful within the city
of God. Fo, 2 1 .

The Angel of Judgment flying in the midft of
heaven. Fo. 22.

Another Angel denouncing the fall of Babylon.
Fo. 22-^.

The ripe Harveft, the Son of Man and his angels
with the fickles ; the gathering of the vines. Ff. 24,
24/^.

The feven Angels coming out of the temple of the
tabernacle of testimony, receive the golden vials from
one of the Apocalyptic beafts. Fo. 26.

Apocalypfe. 5 1

The feven Angels pouring out the vials on the earth.
Ff. 26^, 27, 27^, 28, 'i%b, 29, i<^b.

The Woman of the Apocalypfe, Fo. 30.

The Angel cafting a millftone into the fea. Fo. 31.

The Marriage Supper of the Lamb. Fo. 32.

St. John writing at the didlation of the Angel — falling
down to worfhip the Angel. Fo. i^ib.

The Vifion of heaven opened, our Saviour on a white
horfe, followed by his company. Fo. 33.

The Angel chaining the dragon. Fo. i^c^.

The firft Refurredion. Fo. 35^.

The New Jerufalem. Ff. 37^, 38.

St. John worfhipping the Angel. Fo. 39.

St. John hearing from the Deity the prophecies of the
Book of Revelation. Fo. 391^.

At the end of the Apocalypfe, are reprefentations from
the lives of Saints, with fcenes from legendary hiftory,
executed with much care, and apparently by another
artift. Thefe drawings, twenty-eight in number, from
fo. 40^. to fo. 47, are two to a page, and are unaccom-
panied by any text or defcription.

The fubjeds of the compofitions are various, feveral
appear to depid: a different treatment of the Apocalyptic
vifion, fome illuftrate paflages in the life of Chrift, whilft
others are allegorical. Each drawing, which extends
from fo. 47^ to the end of the MS. fo. c^n^ (of which a
defcription follows hereafter), occupies the entire page.

The backgrounds are chiefly of chocolate colour,
though blue is alfo ufed, and a narrow border of pale
green furrounds each illumination.

St. Chriftopher carrying the infant Saviour; finely
drawn, the drapery dark blue with a greenifh tint; back-
ground, a light chocolate. Fo. 40.

52 French Art.

Scenes from the life and miracles of Chrift and St.
John. Ff. 41-43.

Subjedls apparently from the Apocalyptic vifion.

Fo. 45^-47-

St. John writing his Gofpel, the ifland is reprefented
in a plain chocolate ground, round about is the green
fea with its iflands. A fcroll, on which are the words
" In principio erat verbum," etc. hangs from near the
book in which the Evangelift is writing. Fo. 47^.

The Virgin and Child within a canopy, furmounted
by a church in the pointed ftyle ; at the foot of the pidure
is the kneeling figure of a lady, in a mantle of heraldic
devices, reading a book. Fo. 48.

An allegorical reprefentation of an Angel with fix
wings, upon which are infcribed fhort texts of Scripture
in Latin ; the figure is probably that referred to by the
Prophet Ezekiel. Fo. 48^.

Chrift appearing to Mary. (Tinted outline.) Fo. 49.

St. Laurence. Fo. \^b. St. Catherine, fo. 50. St.
Martha, Fo. 50^.

The figure of St. Edmund, king and martyr, repre-
fented crowned, bound to a tree and fhot to death with
arrows. Fo. 5 i.

The five following drawings are exceedingly fine :
The Crucifixion. A curious and fomewhat confufed
reprefentation. In the centre our Saviour upon the crofs,
to which he is being nailed by men refting upon the
tree. On either fide the Virgin and St. John ; around,
a deriding crowd, foldiers, &c. The crofs is planted upon
a fmall mound in a cavity, out of which two figures are
rifing, as from the grave, in allufion to the paflage
** Many bodies of the faints which flept arofe." (Matt.

Apocalypfe. 53

xxvii, 52.) The feet of our Lord are croffed, the right
foot over the left, and are about to be fecured by a
fingle nail. A blank fcroll is being fattened over the
head of Chrift, and the fun and moon are reprefented
as prefent. The colours employed are a light fepia
for the flefh tones, and pale green or blueifh grey for
the drapery, ^o, c^\b.

A full-length figure of an Archbifhop, fully attired,
wearing a mitre and bearing a paftoral ftaff. The right
hand, gloved and ringed, is raifed in the ad of benedidion.
Fo. 52.

Another drawing fimilar to the preceding, the only
exception being that there is no ring upon the finger.
Fo. ^ib.

A very curious and interefting allegorical reprefenta-
tion of the Virgin Mary (probably here employed as
typical of Religion) fubjeded to the machinations of the
Evil One. A tree, tall and partly covered with foliage,
forms the centre ; and at the top of this tree is perched a
cock, fymbolic of the preacher, crowing luftily, with the
words '* Par le coc en larbre, eft fignifie le precheur qui
defule et le preie a defpire." Near the centre of the
tree hangs a fhield charged with the fymbols of the
Trinity.^

To the left of the tree is the figure of a woman,
probably the Virgin Mary, feated in a chair, fup-
porting the fhield, her feet refting upon a ferpent. The

' The reprefentation of the Trinity as a fhield on which is infcribed
three names, was a favourite mediaeval fymbol. In later art the three
perfons of the Trinity are moft diftinftly defined, the Holy Ghoil being
generally reprefented between the Father and Son, either as a dove only,
with the nimbus, or as a human form with a dove perched upon his
arm or fhield.

54 French Art.

Holy Spirit in the likenefs of a dove, refts upon the
back of the chair. At the foot of the tree a peafanr,
kneeling, is engaged in fevering the roots with an axe.

Upon the right, at a little diftance, ftands the Evil
One, who aims an arrow from a bow at the feated figure
of the Virgin. Above, and ifluing from clouds, are the
figures of Angels, one of whom prefents a fword to the
feated figure, whilft the other is driving away a number
of flies, here ufed allegorically to defignate the evil
thoughts which difturb repentance. Fo. c^'t^.

A "St. Veronica." Fo. c^i^b.

No. 434.

POCALYPSE. Small quarto, ftout vellum,
ff. 45. End of the thirteenth century.

Another copy in French, illuftrated by ninety illumi-
nations, poor in execution but curious and interefting.
The paintings are about 5 inches long by 4-J broad,
each enclofed in a plain framework with from three to
fix lines of text underneath. Preceding the Apocalypfe,
are four full-page illuminations, illuftrating pafiages in
the Life of St. John the Evangelift ; viz.

His Preaching in the Wildernefs. Fo. i.

His Baptifm of Drufiana. Fo. \b.

His condemnation by the Emperor Domitian. Fo. 2.

His Martyrdom. Fo. ib.

The text which is fairly written, has no illuminated
initial letters. Although this MS. has been affigned by
Dr. Todd to the twelfth century, it is evident from the
armour delineated upon ff. 13^^, 22 and 40, that it
belongs to the latter half of the thirteenth.

Apocalypfe. rr

No. ^^.

POCALYPSE. Folio; ftout vellum;
double columns; 29 lines to a page ; ^. ^^.
Fourteenth century.

A copy, alfo in French, written in a large charadler,
with ink of a brown colour and illuftrated by feventy
miniatures of various fizes, in rather a hard ftyle of
French art, of the early part of the fourteenth century.

The defigns are more curious than artiftic ; the heads
and hands are in outline, and the drapery, which is often
in thick body colour, is of the ufual conventional de-
fcription. Each fubjecft is very flightly in detail, but
there is a certain boldnefs about the drawing and quaint
originality In the grouping. The backgrounds of the
illuminations are varied, being either entirely of burnifhed
gold, or of blue ftudded with gold ftars.

The illuminated letters are in general very poorly
executed, being of gold, ultramarine, or fome other
fimple colour, neftled in filigree work.

The fubjedls which for the moft part depidlfcenes of a
fimilar charader to the Apocalypfe (No. 209), though of
a very different treatment are not given in detail, as
they do not call for very particular mention ; but upon
fo. I are fome very grotefque paintings.

^6 French Art.

No. 233.

^SALTER. Folio; vellum; ff. 242; 17
lines to the page. Fourteenth century.

This, the gem of the Lambeth Pfalters, is an exceed-
ingly fine MS., written in a clear, bold charadler of the
early part of the fourteenth century, and richly adorned
with eleven large initial letters, each occupying nearly
half the page, having backgrounds of burnifhed gold,
either of tefTelated or mofaic work architedlurally de-
vifed, or as trefoils and quatrefoils enclofing miniatures.

The margins are occupied by the ufual angular Gothic
bracket, chiefly fpringing from, and forming the termina-
tion of the initial letters (of the fmaller of which there is
a great profufion), and in mofl: cafes furrounding the
page.

In fome of the letters, heads of human beings and
grotefque animals are drawn ; and around the large
illuftrations are fet drolleries, animals, birds, figures
playing upon mufical infliruments &c., which are intro-
duced in endlefs form and variety. In addition to thefe
ornaments, the terminations of the verfes are prolonged
by bands, or ftrips of gold and filver, covered with zig-
zag, fcroll, mofaic, or other patterns, with the occafional
introdudion of a chafe or combat with animals.

Prefixed is the Calendar, written in a fimilar character
to the reft of the MS. fet in brackets as before de-
fcribed, the entries being in letters of blue and vermilion.
Within circles of burnifhed gold are painted the Zodiacal
Signs and Seafons, the latter illuftrating mediaeval occupa-
tions and coftume.

"a^"~l

O

Pfalter. ^j

The large illuminations with their fubjedls, are as
follows :

Our Lord in Majefty, reprefented within a quatrefoil,
the right hand is uplifted in benedidion, whilft the left
refts upon the fymbolic globe ; within the four corners
are the Evangeliftic emblems. Fo. i/i^b.

The letter B forming the beginning of the word
"Beatus." Subjedl : The genealogical defign known as
the Jefle tree, containing fourteen medallion pidlures ;
thofe forming the ftem of the tree arifing from the keep-
ing figure of the Patriarch are the Crucifixion, Virgin
and Child, and God as the Creator ; others illuftrate
fcenes from the Law and the Prophets. The whole
defign was a favourite fubjedl with mediaeval illuminators,
and is often found on fliained glafs. Fo. 15.

Samuel anointing David (" Dominus illuminatio
mea.") Letter D. Fo. 44.

David kneeling in fupplication before Chrift (?) (" Dixi
cufliodiam vias meas ut non delinquam.") Letter D.
Fo. 64.

David flaying Goliath, the latter in banded armour
holds a fmall circular fliield. (" Quid gloriaris.'' Letter
Q. Fo. 81^.

Illufl:ration of the Pfalm, " Dixit infipiens." The
naked figure of a man holding an apple (?) in his right
hand, and in his left a flagellum, addrefling the feated
figure of a King. Letter D. Fo. ^ib.

" Salvum me fac." In the upper part of the letter S is
the figure of our Lord, with his right hand upraifed, the
left bearing the globe ; in the lower, Jonah and the whale.
Fo. loi.

King David playing upon the bells, in reference to
the pfalm, '* Exultate Deo." Letter E. Fo. 1 23^.

58 French Art.

'' Cantate Domino." Letter C. A group of eccle-
fiaftics chanting from a roll placed on a iedern. This
letter is elegantly defigned under a trefoil-fhaped canopy,
with a rich mofaic background. Fo. \\^b.

The figure of a King ( ? David) kneeling before an
altar, " Ad Dominum." Letter D. Fo. 148/^.

"Domine exaudi oracionem meam." Letter A. In
the upper part the figure of our Lord, holding the
globe, his right hand upraifed. In the lower, which
is divided into a triple compartment by Gothic-formed
panels, the figure of a female kneeling in prayer before
an altar. Fo. 189^.

Letter C. A fimilar fubje6l to that at fo. 148^.
Fo. 215.

No. 558.

PSALTER. Vellum. Ff. 282; i2mo.
Eighteen lines to a page. Fourteenth
century.

A Pfalter with Hymnarium and various offices, inujutn
Ecclefia Chrijii Cantuarienfis . This MS. has but few
illuminations, fome of which are much obliterated. Six
of thefe are prefixed to the Pfalter. Each is furmounted
by an architedlural canopy of the tranfition period, when
the femi-circular arch gave way to the pointed gothic.
The backgrounds upon which thefe are painted are of
burniftied gold.

The fubjedls are :

The Annunciation. Fo. 8*^. The Nativity. Fo. 9^.

The Angel appearing to the Shepherds. Fo. \oh.

The Offerings of the Wife Men. Fo. 11.

Herod's command to flay the Innocents. Fo. 12.

The St. Alb an s Chronicle, 59

A Genealogical or " JefTe tree." Fo. 13^. ,
The Betrayal of Chrift. Fo. 34^.
Chrift bearing his Crofs. Fo. 73^.
The Defcent from the Crofs. Fo. 1051^.
The Entombment. Fo. 123.

No. 6.

|HE St. Alban's Chronicle. Large folio,
17 inches long, by 12 wide, vellum,
double columns, thirty-four lines to a
column. Ff. 257. Fifteenth century.

A very fine copy of the work known as the St. Albans
Chronicle^ fairly written in Englifii, in a pointed gothic
chara6ler, and profufely ornamented with nineteen large,
and fifty fmall illuminations in the French ftyle oi art,
illuftrative of the principal fubje6ls contained in the text.

Thefe confift chiefly of reprefentations of battles,
tournaments, joufts, &c., fo frequently occurring in
ancient chronicles. Great boldnefs of grouping and
fpirit in the adion chara<^erize thefe illuminations,
which offer to the artift an inexhauftible field for the
ftudy of coftume, ecclefiafl:ical and domeftic architecture,
heraldry, furniture, with many other details. Gold has
been much and moft efFedlively ufed in heightening the
effedt of coftume and ornament, and a delicate finifh is
difcernible throughout nearly every painting. The
border decorations are few, and finifh abruptly, the
leading pattern is formed of an intertwining of the
wild ftrawberry, grape-vine, forget-me-not, daifies, &c.

The Chronicle commences with, ** Here begynne the
cronicles of kynges of Englond, fith the tyme that it
was firft inhabit and of their adles as be dyv's audlores is

6o French Art.

declared and teftyfyed." The laft date mentioned is
1436. The Chronicle concludes with a copy of" rymes
made among englifshmen aftir the flemmynges were thus
fhamfully fled frome Caleis." Thefe are in ftanzas of
irregular length, beginning,

" When ye flemyng wer frefsh florifshid in your flouris,
" And had weth at your will ye wolde be conquerouris."

And ending thus,

" Ye be nothing elles worth, but gret wordes to camp,
" Sette ye ftill and bith in pees, God gyve you quadren
ramp."

In the lower margin of folio i is a fhield of arms,
bearing y/^^r/^r/y, i and 4, argent on afejsgules^ 3 bezants ;
1 and 3, argent y a lion rampant y azure.

Here likewife occur the autograph fignatures of John,
Lord Lumley, and Henry Fitz- Alain Earl of Arundel,
the former of whom (who died in 1609) had obtained
the valuable MS. treafures colledted by Lord Arundel
at the time of the diflblution of the monafteries. This
fine colleftion was, by Prince Henry's influence, fecured
for the Royal Library.

A lifl: of the more important and larger paintings in
this chronicle is here fubjoined.

The landing of Julius Casfar, and his attack on the
Britons. Fo. i^b.

Saint Urfula, and the 11,000 Virgins at Cologne,
their martyrdom, &c. Fo. 34.

A combat of a white and red dragon before King
Vortigern and his attendants. Fo. 43*^.

Coronation of Arthur, King of Great Britain. Fo. 54/^.

Combat between Saxons, Angles, and Nyghtes.
Fo. 77.

.AHvatJiUtu'.

The St. Albans Chronicle. 6i

Athel wolf received by the Pope of Rome. Fo. %ib.

Baptifm of Rollo, Duke of Denmark. Fo. 85.

King Edmund Ironfide, killed by an arrow in his
bedchamber. Fo. 97.

The miracles fliewed to King Edward — Mafs pro-
ceeding in the Trinity Chapel, at Weftminfter. Fo, 105^.

Marriage of Henry, Emperor of Rome, to Maude,
daughter of Henry I. of England. Fo, 122.

The Murder of St. Thomas a Becket. Fo. 136^.

King Richard befieging the city of Acre. Fo. 147,

King John driving out the monks of Canterbury, an
event preceding the interdidlion of mafs in England
and Wales, Fo. 1 54.

King John at table, with the attendant monks, in the
Abbey of Swyneftiede, in Lincolnfhire. Fo. 160^.

Edward I. receiving the homage of the King of
Scotland and his nobles at Newcaftle, where a Parlia-
ment was being held, Fo. 209.

The citizens of Calais furrendering themfelves to
King Edward. Fo. 218.

A royal Tournament at Smithfield before Richard II.
Fo. 233.

The figning of the Treaty of Arras. Fo. 251^.

The Jmall illuminations difplay fcenes and incidents of
an interefting charafter, coflume, architedure, and land-
fcape fcenery being freely introduced ; thofe paintings
which particularly embody thefe and other details will
be found at the undermentioned pages. Ff. 1 8, 20, 23,
27^, 32, 33, 52, 79, 82^, 87^, 91^, 122, 136^, 142,
147, 160^, 231, 240.

62 French Art.

No. 65.

HE Limoges Missal. Thick folio, vel-
lum, ff. 398, double columns, 30 lines
to a column. Fifteenth century,

A fplendid example, in fine condition and ample
margins, written in a large charafter, with finely illumi-
nated letters of the ufual interlaced ornaments ; fome
with rich teffelated backgrounds, others with burnifhed
gold beautifully frefh and brilliant. A profufion of
fmaller initials in plain colour or gold, neftling in
delicate filigree-work further enriches the volume. Many
half borders occur, compofed of the ufual bold and
elegant conventional foliage in blue and gold, interfperfed
with the wild flrawberry, daify, and other flowers. The
commencement of the various fervices is indicated by a
border entirely round the page, and the large illuminated
initial has generally a marguerite or daify infide.

Prefixed to the volume is the following title-page,
upon modern vellum within letters of gold : " MifTale
fecvndum vfum Ecclefias Lemovicenfis. Rerum fapientia
cuflos," below which occurs a large coloured coat of
arms, bearing quarterly i and 4, gules, 3 rqfes argent ; 1
and 3, azure y an efquire's helmet , argent, the whole fur-
mounted by a bifhop's mitre and crozier. Under the
arms, is the following infcription : " Joannes Delau-
befpine Epifcopus Lemovicenfis. Abbas Sandi Mar-
tialis, A.D. millefimo qvingentefimo odlvagefimo quarto.

The arms, which are probably thofe of John de
Laubefpine, Bifhop of Limoges, are introduced into the
margins in many parts of the volume.

Limoges Mijfal. 63

The ufual Calendar of faints is prefixed. The fervice
follows upon fo. 7 with the rubricated heading, " Incipit
Miffale fecundum ufum et confuetudinem ecclefias
lemouicenfis."

This page is furrounded by a border, the letter A of
the fentence commencing — " Ad te levavi animam" being
very large, with a brilliant tefTelated interior.

It is with this page that the original foliation com-
mences, and continues to fo. 131, where a fimilar page
and border occur, the text commencing with a large
initial R (Refurrexi et ad hue) fhaded with pink,
heightened with a white ornament of a fleur-de-lis crofs
fhape ; withinfide is a marguerite beautifully and deli-
cately painted.

The foliation is continued from this page to fo. 214.
Then follow Orationes for various Saints' days, with
mufical notes, fome portion of which is written in very
large charaders. At the end of the Orations a new
pagination begins, and continues as far as fo. 150, the
firfl: page of which has the ufual borders, with a rubric,
*' Incipit Sanftorale fecundum ufum et confuetudinem
Eccles' Lem'." Seven unnumbered leaves of prayer
conclude the volume.

There are but two large illuminations in this MS.,
thefe, like the title-page, are infertions of a later date,
and were probably executed by the bifhop's order, and
about the fame period as the title-page.

The fubjeds are the Crucifixion, and the Almighty in
Majefty, and are inferted between the pages containing
the Orations above mentioned.

The reprefentation of the Crucifixion is replete with
fcenery, figures and life. The artifl: has chofen the occa-
fion when the foldier is piercing our Saviour's fide. The

64 French Art.

two thieves are reprefented, at the foot of the crofs,
upon the left, ftands the Virgin with the group of women,
and the right, is occupied by the figure of the centurion.
He is armed cap-a-pie in gold armour, with vifor up,
feated upon a white horfe, with trappings of blue and
crimfon, his right hand raifed as if giving diredtions.
Behind him appear other foldiers mounted, one of whom,
not habited in armour, pierces our Lord with a lance.
The grouping in the rear of the crofs is cleverly arranged.
Upon the hill are {^^n horfemen (in miniature), riding
up the afcent towards the gates of the city. The coming
darknefs is indicated by the glimmering of the ftars, and
the whole picture is remarkable for varied and brilliant
colouring, with a great amount of animation.

The painting of the Almighty in Majefty faces that
of the Crucifixion, and reprefents an aged figure feated
in an azure fky, in the oval-fhaped glory, crowned with
the triple tiara. In the left hand he holds the fymbolic
fphere, whilft the right is uplifted as in benedidion.
At each of the four corners is a figure of an Evangelift,
accompanied by their diftin6live fymbols, whilft in the
margin below are figures of two kneeling angels, fup-
porting the fhield of arms before defcribed, enclofed in a
laurel chaplet.

Both thefe paintings are fine illuftrations of French
pidlorial art, towards the clofe of the fixteenth century,
and are furrounded by a border of daifies, panfies, and
the wild ftrawberry gracefully interwoven among con-
ventional foliage and fcroll work.

Hours of the Virgin. 65

No. 496.

OURS OF THE Virgin. Odlavo ; vellum;
ff. 146. 19 lines to a page. Fifteenth
century.

Another example of this clafs of Service Book fairly
written upon clear vellum, with ample margins, contain-
ing twelve full-page illuminations, of fomewhat inferior
art, in which landfcape backgrounds are occafionally
employed with much efFedl.

The larger paintings are nearly all enclofed in an
architedural fetting or recefs, which is outlined with a
narrow band of filver. The figures are effedlively
grouped, and in fome cafes prefent a fharp, vigorous out-
line.

The initial letters are, comparatively fpeaking, plain ;
the borders harmonize with the reft of the illuminations,
and confift of the ufual conventional foliage, introducing
the panfy, wild ftrawberry, and other flowers in detached
groups.

The following fubjedls are depicted : —

Our Lord holding the fymbolic globe ; the right hand
upraifed. Fo. 15^.

St. John the Apoftle, with the chalice from which the
ferpent is rifing. Fo. 26b.

St. Chriftopher and the infant Chrift. Fo. iZb.
' St. Anna, the Virgin and Child. Fo. 30^.

St. Mary Magdalene, with the box of ointment.
Fo. 2,'^b.

St. Catherine, with the broken wheel. Fo. 34/*.

St. Margaret and the dragon. Fo, 2^b.

F

66 French Art.

Meeting of Mary and Elizabeth. Fo. A^A^h.
The Holy Spirit as the Dove. Fo. 51.
The Crucifixion ; St. Michael the Archangel. Fo. 52.
St. Peter and St. Paul, Fo. c^i^.
St. Andrew and St. Stephen. Fo. 53^'.
St. Laurence. Fo. 54. St. Thomas a Becket (text
obliterated). Fo. 54^.
St. Nicholas. Fo. 55.
Our Lord with his Apoftles. Fo. c^d.
The Nativity. Fo. ^U.

Appearance of angel to the Shepherds. Fo. ^■;i^b.
The Prefentation in the temple. Fo. 69.
St. Jerome in his ftudy. Fo. 137.

No. 545.

lOURS OF THE Virgin. Small quarto;
vellum ; thirteen lines to a page ; ff. 195.
Fifteenth century.

This example is written In a large Gothic charadler,
with a few illuminations, of apparently French art, ac-
companied by narrow borders of the ivy-leaf pattern,
furrounding the page. The initial letters differ fome-
what in defign from thofe ufually found in MSS. of
this period ; many of the larger ones having a dragon
or lion's head, from the mouth of which iffues a fcroll-
like ornament in a ftrange, grotefque manner.

The miniatures vary as to treatment, thofe near the
end difplaying much greater finifh.

The following fubjeds are reprefented — viz. :

Our Lord fhowing his wounds, prefixed to the prayer,
" Deus deus meus refplce in me." The head of the

Hours of the Virgin. 67

Saviour is beautifully treated; the figure is reprefented
nude, three-quarter length, the hands crofled in front
of the body, the background of a pink colour, upon
which is wrought elegant fcroll work in narrow gold
lines. On this background, nearly parallel with the head
of the Saviour, are thefe letters, alfo in gold, ihc xpc.
Fo. 144.

The Annunciation ; a very excellent painting, with an
elegant border of birds, fruits, and flowers. The em-
blematical lily is here introduced between the figures of
the Angel and the Virgin Mary ; the crucified figure of
our Saviour appears between the branches of the flower.
Fo. iG^b.

The Crofs of Calvary, wreathed with a crown of
thorns, with a neat landfcape background. Fo. 184.

A heart-fliaped device in gold, within which is painted
the figure of Chrifl; crucified. In the centre is a rhythmical
prayer in Latin, and around, a rubricated infcription as
follows :

*' This cros |)at here peynted is "
" Signe of the cros of bromholm is."

This painting, as an infertion, does not form any part
of the original MS., being fafliened down upon one of
the leaves. Fo. 185.

Another infertion (fo. 78/^.), being a Angular repre-
fentation of the wound of Chrifl:, furrounded with the
words : ^' The mefur of he wonde of our Lorde Ihu
Crift, he fuffurde on y*" crofe for our redempcion." At
the end, and in other parts of the MS. are obituary
notices of the family of Lewkenor, between the years
1473 and 1543.

68 French Art.

No. 535.

[SALTER. Small quarto, vellum, 17 lines
to a page, ff. 274. Second half of fifteenth
century.

This copy is well written in a fquare gothic charadler,
fparfely illuminated, with miniatures in the initial
letters only. The border ornaments, fome of which
are pretty, occur only in connexion with the miniatures,
and form a broad ground of a pink colour, upon which
is painted the conventional daify and fcroll pattern.
The fubjedls illuftrated are :

The Agony in the Garden. Letter B. Fo. 8.

Judas ? brought before Chrift. Letter D. Fo, 43.

The Arraignment before Pilate. Letter D. Fo. 66.

The Crucifixion. Letter S. Fo. \oc)b.

The Defcent of the Holy Ghoft. Letter C. Fo.
161.

Chrift feated on the rainbow as Judge of the World.
Letter D. Fo. 187^.

The binding, which is probably of the fixteenth century
is ftamped with a fcroll-work pattern and the words :

AVE. MAR. GRAT. PLEN. DOM. TECVM,

Old Tejia?nent.

69

GERMAN ART.

No. 3.

HE Old Testament. Large folio,
20^ inches by 14; ftout vellum, ff. 328 ;
46 lines to a column. Twelfth century.

A very fine copy of a portion of the Scriptures,
commencing with Genefis and concluding with the Book
of Job, in Latin, well written with brownifh ink, of the
fame date and in the fame ftyle of art as the celebrated
Worms Bible, at the Brltifli Mufeum.

Although, in Dr. Todd's Catalogue (already referred
to) this volume and No. 4 (alfo a portion of the Scrip-
tures) are defcribed as comprifing one and the fame MS.
this really is not the cafe, thefe two volumes forming
portions of two feparate copies, both written in Germany,
in the twelfth century, but differing from each other as
regards the hand-writing and the quality of the art.

This MS. prefents an unufually fine example of Ger-
man art of the twelfth century. The illuminated letters,
moft of which are very large, occupying a fourth of the
page, are compofed of branches interlacing each other,
in graceful fymmetrical forms, combined with grotefques,
as dragons' heads, &c., a ftyle of ornament charadleriftic
of the illuminations of that period.

The colouring is frefh and vivid, and aided by the
back-grounds of burniftied gold, contributes greatly to
the fplendour of the volume. Several of thefe letters

70 German Art.

are filled with figures illuftrative of Bible hiftory, the
fiabjeds of which are defcribed as follows.

In addition to the illuminated letters, the volume
contains ftx full or three-quarter page illuminations in a
fuperior and interefting ftyle of art, brilliant in colouring,
and offering numerous examples of coftume, architecture,
implements of hufbandry, furniture, &c.

The following are the fubjeds moft worthy the atten-
tion of the artift and archasologift : —

A fine example of the letter F, occupying the whole
length of the page, 20 inches. In the upper portion is
the figure of a fcribe (probably intended for St. Jerome),
feated, writing upon a fcroll. Fo. i.

The letter D. Fo. \b.

A full-page illumination, in which the following
fubjedts are reprefented : —

I ft. Jacob's Vifion. 2nd. Abraham's Sacrifice. 3rd.
Abraham entertaining the three Angels. Fo. 6.

The firft-named fubjedl occupies nearly the whole of
the page, and above the ladder is the femi-figure of the
Almighty, holding a fcroll infcribed with the words ;
*' Ego fum Deus Bethel ubi vnxifti lapidem."

The letter I (In principio), formed of eight medallions,
illuftrating the Creation of the world. Fo. db.

The letter V. In the upper portion is a reprefenta-
tion of Mofes receiving the Commandments on the
Mount ; in the lower, the offering of a burnt facrifice.
Fo, 52.

A large illumination, occupying two-thirds of the
page, and divided longitudinally into three equal por-
tions. Fo. d^ib.

Old Tejlament. y\

[Numbering the Ifraelites ?J i. The principal group
confifts of two venerable men and fome women, who ap-
pear to be taking leave of a number of people, afTembled
upon the left hand ; on the right, at a little diftance, an
aged man (probably Mofes) is kneeling upon a mount,
and receiving a plain fcroU from a hand extended from
the clouds. 2. A proceiTion of people carrying the ark,
pillars, cups, &c. 3. The offerings in the Temple.
Fo. 66b.

The letter L (7 inches long). Fo. 67.

The letter H (6^ inches long). Fo. 88.

The letter R, occupying the lower half of the page,
and unequally divided into three compartments. Fo. 130.
The illuftrations are, viz. :

{a) Ruth gleaning, and Boaz fuperintending, in the
fields.

{b) Ruth and Naomi,

(f) Ruth repofing at the feet of Boaz.

The letter I, compofed of three medallions and ex-
tending the full length of the page, containing further
illuftrations of the ftory of Ruth. Fo. 130^, viz.:

{a) Boaz giving fix meafures of barley to Ruth.

(^) The people in the gate, and the elders appearing
as witnefTes to the declaration of Boaz concerning Ruth.

{c) Ruth's kinfman giving his fhoe as a teftimony to
Boaz.

The letter V. Fo. 132.

The letter F, extending the full length of the page ;
in the upper portion are illuftrations of the combats of
the Philiftines, and the death of Saul. Fo. 151.

The letter M. Fo. 164^.

72 German Art.

The letter E (4^, inches fquare). Fo, 165.

The letter C (the bow of the letter is of filver, tar-
nifhed). Fo. 182.

A fine full-page reprefentation of the Tree of Jefie,
comprifed o^ fix large circular medallions, the upper one
of which is fupported by a finely-draped figure of the
Virgin, habited in blue, with a nimbus of gold furround-
ing the head. The whole is fet within a fquare frame,
at each corner of which is a medallion containing three-
quarter figures of the Prophets, bearing fcrolls. In the
centre of the frame at the top, is a reprefentation of the
head of Chrift, upon a blue ground, furrounded by feven
white doves. Fo. 198.

The fubjeds of the medallions are as follows, viz.

I . The Old Teftament pourtrayed under the form of
a female, veiled, fupported by Mofes, and a figure wear-
ing a nimbus.

1. The New Teftament, as a female figure crowned,
accompanied by two venerable nude figures, one of whom
bears a fcroll.

3. Two female figures, Juftice and Mercy ("Juftice
and Mercy have kifTed each other").

4. Two female figures hand-in-hand, one of whom
bears a vafe or cup, the other a fmall crook.

5 and 6. The four greater Prophets looking up to
the Virgin, one of whom bears a fcroll infcribed " Egre-
dietur Virga de radice Jefie," &c.

The letter V (5^^ inches). Within the arms of the
letter is a reprefentation of King Manaffes directing the
execution of the Prophet Ifaiah .? Fo. 198/^.

The letter H., with the figure of the prophet Baruc.
Fo. 254.

Plod^7.

A.BwVjjpChx).

Old Tejiament. 73

The letter P. (8 inches in length), with the figure of
Nebuchadnezzar. Fo. 256/^.

A large and brilliant illumination. It occupies two-
thirds of the lower part of the page divided latitudinally
into two parts, the upper of which is again divided
longitudinally into two, and the lower into three parts.
Fo. 258. In thefe are reprefented,

1. Ezekiel brought into the chambers of imagery.

2. The fix men going forth to deftroy.

3. The marking of the righteous upon their foreheads.

4. The deftrudlion of the wicked.

The letter E (4^ inches fquare). Ezechiel eateth the
roll. Fo, 2581^.

The letter D, with the figure of St. Jerome (?). Fo,
284^.

The letter D, with the head of Daniel. Fo. 285.

A full-page illumination, divided into fix compartments,
illuftrating the following fubje6ls, viz, :

1. The Vifion of Nebuchadnezzar.

2. The Wife Men called upon to explain it.

3. Daniel brought from prifon to interpret the dream.

4. The worfhip of the Golden Image.

5. Nebuchadnezzar worfhips Daniel.

6. Shadrach, Meflnach and Abednego caft into the
fiery furnace. Fo. i%^b.

The letter A (6 inches fquare), Daniel in the den of
lions. Fo. 286.

The letter V. The prophet Hofea holding a fcroll.
Fo. 296^^.

Three examples of the preceding letter V., within
which are reprefented :

I. The prophet Joel foretelling the deftrudlion that is
to come. This fubjedl is quaintly fymbolized by a

74 German Art.

number of birds, which, frightened by the darknefs, have
afiembled over the houfes of the city. Fo. 300.

2. The burning of the palaces foretold by the prophet
Amos, who, feated with a fcroll in his hand, is reprefented
as delivering his denunciations. Fo. 301^.

3. The prophet Micah foretelling the wrath of God
againft Jacob. Fo. 304.

The letter O. The prophet Nathan foretelling the
deftrudion of Nineveh. Fo. 306.

The letter O. The Saviour upon the crofs. At the
foot, the prophet Habakkuk. holding a fcroll. On either
fide of the crofs are fymbolical reprefentations of the Old
and New Covenant, in the form of two female figures,
the one veiled and bearing a broken fpear, the other
crowned, and holding a chalice, into which flows the
blood from the Saviour's fide. Fo. 307.

The letter V. Fo. 308.

The letter I (11 inches in length) containing three
fmall medallions illufi:rating the vifions of the prophet
Zechariah, Fo. 310, viz.:

1. The man " riding upon a red horfe," " and behind
him there were red horfes, fpeckled and white."

2. The "candleftick all of gold, with a bowl upon
the top of it, and his feven lamps thereon," . . . and
two olive trees by it, "one upon either fide."

3. " Thy King cometh unto thee, lowly, and riding
upon an afs, and upon a colt the foal of an afs."

The letter O, in outline. The prophet (Malachi)
feated, with a fcroll in his hand. In the upper part of
the letter is feen the half-length figure of the Almighty,
the right hand uplifted, the left holding a fcroll. The
Prophet appears to be writing down the infpired words.
Fo. 314^.

Sacred Scriptures. y ^

No. 4.

PORTION OF THE Bible. Large folio;
flout vellum ; ff. 217; double columns;
^^ lines to a column. Early twelfth
century.

Another fine example of a portion of the Sacred
Scriptures, in Latin, well-written, by a German hand,
commencing with the Pfalms of David and ending with
the Apocalypfe. As ftated in the defcription of the
manufcript (No. 3, p. 69), this volume is the one
erroneoufly defcribed as forming the fecond part of that
manufcript.

The prefent volume is larger and better written than
the former, but cannot in any way compete with it in
refpedl to its artiftic embellifhments.

Independently of the abfenceof the full-page illumina-
tions, which form fo ftriking a feature of No. 3, the
initial letters of No. 4, of the interlaced ftyle of defign,
are, in general, very inferior in execution, and fuffer by
comparifon, though fome few of the initial letters, placed
at the commencement of the feveral books, are grand and
varied.

Of thefe the more noteworthy are the letter B (fo. 3),
which meafures 8 inches in length by 44 broad ; alfo
the letters I and D (on ff. 27 and ^ob).

Dr. Todd fays of this MS. that in almoft all the
prefaces of the books, St. Jerome is not called " Hiero-
nimus," but " Eufebius Jeronimus."

76 Italian Art,

ITALIAN ART.

No. 563.

SALTER. Duodecimo, vellurn, ff. 169;
twenty-four lines to a page. Thir-
teenth century.

A very pretty example, minutely written, and fpar-
ingly illuminated, but in a very neat and unufual ftyle
of art, probably by an Italian hand.

The ornament confifts of illuminated letters only,
feven in number, in each a miniature, exquifitely painted
upon a plain background of burnifhed gold.

The following are the fubjedls depided.

" Beatus vir ;" Letter B; the groundwork, elegant
fcroll pattern on gold ; at the four corners of the letter
are fmall medallions, reprefenting perfons playing upon
mufical inftruments. Fo. 20.

David anointed by Samuel. Letter D. Fo. ^S-

A feated figure in meditation. Letter D. Fo. 44 b

David and Goliath. Letter O. Fo. 53.

Jonah and the Whale. Letter S. Fo. Gib.

A figure (David ?) in prayer before an altar. Letter
D. Fo. 87^.

The Creation of Eve. Letter D. Fo. 100.

In addition to the Pfalter, the MS. contains the
Cantica, Symbola, and Hymns for the whole year.

'Jura et Privilegia, &c. 77

Upon the covers of the book are the initials R. B.,
Richard Bancroft, Archbifhop of Canterbury, and
founder of the library. This neat little MS. has been
ruthlefsly cropped in binding, exterminating fome of
the elegant finials to the illuminated letters.

No. 323.

URA ET Privilegia, &:c. Large thick
folio. Stout vellum, ff. 297. Seven-
teenth century.

This ponderous MS. bound in crimfon velvet, and
ftrengthened with boffes and corners of brafs, is known
as "Jura et Privilegia clero Anglicano adjudicata," and
was compiled and written at the exprefs command of
Archbifhop Laud, by William Reyley, Blewmantle, in
the year 1637. ^^ confifts of tranfcripts of various
Records, relating to the Rights and Privileges of the
Englifh clergy, extradled from the Rolls of Parliament,
between the twentieth year of Edward I., and the
fourteenth year of Edward IV. inclufive.

This exceedingly valuable and interefting MS. is thus
referred to in the printed copy of Archbifhop Laud's
Diary, depofited in the library.

1637, June 10. " My book of the Records in the
Tower, which concerned the clergy, and which I caufed
to be colle6led and written on vellum, was brought to
me finifhed." Fo. 54.

1637. "A book in vellum, fair written, containing
the Records which are in the Tower and concern the
clergy. This book I got done at my own charge, and

yS Italian Art.

have left it in my ftudy at Lambeth, for pofterity."
Fo. 69.

The frontifpiece, which is the only artiftic embellifh-
ment the book contains, reprefents an architedlural ele-
vation, having a pediment, fupported upon four pillars
of the Corinthian order. In the centre, between thefe,
is a fcroll, upon which the title, with the date 1637, is
infcribed. The artift has fo arranged that by a curling-
up of the fcroll, a diftant view of the front (probably) of
Lambeth Palace, as it appeared at the time of this paint- ■
ing, is intended. To the left is the figure of a male
perfonage, dreffed in fables, kneeling upon the right
knee, holding a pen in the right hand, whilft with the
left he points to the title upon the fcroll. Beneath, is
the word industria. Between the columns, upon
either fide, ftands a draped figure, the one fubfcribed.
ANTiQuiTAS, the Other Veritas.

Surmounting the pediment are winged figures, holding
a mitre rayonnee, whilft, in the centre, is the fhield of arms
of Archbifiiop Laud, viz. fable, on a chevron, between
three eftoiles or, three crofies-pattee fitchee, gules, im-
paling thofe of the fee of Canterbury, fimilarly fupported.
At the corners of the pediment, are two figures, fub-
fcribed RELIGIO and PIETAS.

At the bafe are five coloured fhields of arms, viz. of
the Univerfities of Oxford and Cambridge, and of Arch-
bifhop Laud, as bifhop fuccefiively of Bath and Wells,
London and St. David's impaling Canterbury as above.

This painting is a beautiful example of Renaiflance
art, and is probably by the hand of an Italian artift.
The draperies and motives of the figures are remarkably
good, and the colouring foft and harmonious.

Tippoo Saib's Koran. 79

PERSIAN ART.

No. I 210.

IPPOO Saib's Koran. Folio, paper,

ff. 262. Sixteenth century.

T.i e Koran, or facred book of the Maho-
metans, was written about 610 by Mahomet; it is
divided into 1 14 large portions or chapters of very
unequal length, compofed in a rhapfodical ftyle ; its ge-
neral aim was to unite the profeflbrs of idolatry, and
the Jews and Chriftians in the worfhip of one God
under certain laws and ceremonies exadling obedience to
Mahomet as the prophet, who was believed to be the
author.

The reverence in which the Koran was held was fuch
that none dare touch it, without being wafhed or legally
purified ; it was carried to war, confulted on weighty
occafions, and taken on oath. The Koran was tranf-
lated into Latin in 1 143, into French 1647, and i^ito
Englifh by Sale in 1734, of which laft, a copy exifts in
the Lambeth Library.

There are two copies of the Koran in the Lambeth
Library, of which the volume defcribed under this number
(1210) is the larger, and more fully illuminated of the
two, with paintings and oriental enamel. It is faid to
have been written by the pen of the Sultan, Allavud-
deen Siljuky, about 400 years ago, and defcended to
thefe times in the line of Emperors, was found in the

8o Perjian Art,

Library of Tippoo Saib, at Seringapatam, on the cap-
ture of that place by the Britlfh armies.'

Its prefentation by the College of Fort William, in
Bengal, by permifllon of Richard Marquis Wellefley,
Governor-General of India, to Archbifhop Manners-
Sutton, about 1805, offers interefting data.

The text, written in Arabic, is enclofed by decorative
borders. Blue, white, and gold are the prevailing colours
ufed ; definite patterns or bands divide the chapters,
while elegant defigns of a ftar-like fhape indicate the
verfes upon every page.

The commencement of the Koran has feveral pages
of illumination only, and thefe, when expofed to a cer-
tain light, refle6l dazzling hues of brightnefs ; altogether
this copy, which is in the original oriental binding, is
unufually fine, and remarkable, in addition, for its excel-
lent prefervation.

The fpecial artiftic features of the work, flyle of
ornament, &c., are of that Eaftern character fo well
known to artifts by a gorgeous and dazzling brilliancy
variety, richnefs, and harmony of colour.

The general decorative charadterifiics are reproduced
in that marvel of Moorifh art, the Palace of the Alhambra,
and exemplified in Mr, Owen Jones's elaborate work,
" The Grammar of Ornament."

* This colleftion, which was well felefted, is now preferved partly at
the India Mufeum, partly at the College of Fort William, in Bengal.

Genealogical and Heraldic MSS.

No. I 2 I I .
ORAN. Oaavo, paper, ff. 314. Six-
teenth century.

Another and exceedingly pretty copy of the Koran,
written in Arabic, and in the original oriental binding.

The fine full-page fpecimens of Perfian art, contain-
ing the ufual Anwar or invocation to Mahomet, precede
the text, and thefe, with the occafional headings in blue
and gold, prefixed to the feveral divifions, conftitute the
principal ornaments of the MS.

There are fifteen lines of text to a page.

GENEALOGICAL AND HERALDIC MSS.

|HE manufcripts em.braced under this head
are about eighteen in number, of which no
lefs than thirteen are in the handwriting of,
or belonged to, the celebrated William Cecil,
Lord Burleigh. They chiefly relate to Englifh and
foreign nobility, the exceptions being two volumes of
Arms and Pedigrees of Kentifli families. Their intro-
du6lion here is explained at p. 26 of this book; and
their order is as follows : —

No. 257.

NGLISH AND French
Large folio, paper, ff. 318.

Nobility.

A volume in the handwriting of William Glover,
Somerjet Herald^ containing — ift. Pedigrees of Englifh

G

82 Genealogical and Heraldic MSS.

nobility. Prefixed to each is a blank fhield, with the
fupporters in dotted outline. The fmaller (hields have
the arms neatly drawn in trick. 2nd. Arms of Englifh
nobility between 1616 and 1626. 3rd. Genealogies of
French nobility.

No. 278.
NGLISH Nobility. Small folio, paper,

ff. 63.

Pedigrees of Englifh nobility, entitled " Baronagium
Anglic 1 597- Magnatum fcillicet illius Regni Stemmata
recentiora, ad confanguinitates affinitatefque, per inter-
mixta Connubia difcernendas, delineata."

A large coloured coat is prefixed to each pedigree.

No. 302.

NGLISH Kings, &c. Small thick folio,
paper, ff. 191.

Pedigrees of Englifh kings and nobility, in the hand-
writing of Lord Burleigh. Very full, but haflily written
in his well-known fcratchy hand. A few coats in outline.

No. 299.
OREIGN Princes. Quarto, paper, ff.

183.

Pedigrees of Foreign Princes, fhewing their relation
in degrees of kindred to Anne, queen of James I. In
the handwriting of Lord Burleigh.

Genealogical and Heraldic MSS.

83

No. 305.

NGLISH AND French Nobility. Thin
folio, paper, ff. 93.

A volume formerly belonging to Lord Burleigh,
containing — ift. Arms of Englifh knights arranged
under counties. 2nd. Arms of knights at the fiege of
Carlaverock. 3rd, Genealogy of Englifh and French
nobility. Roughly written within circles.

No. 258.

NGLISH Nobility.
folio, paper, ff 279.

Fine MS.

Large

Arms and quarterings of Englifh nobility temp. Jas. L
One large coloured fhield in each page.

No. 313.

NGLISH AND French
Folio, paper, ff. 1 54.

Nobility.

Pedigrees of Englifh and French nobility, partly in
the handwriting of Lord Burleigh. Haftily written, and
without coats of arms.

No. 318.

NGLISH AND Foreign

Thick folio, paper, ff. 380.

Nobility

Pedigrees of Englifh, French, Spanifh, Italian, Ger-
man, and Flemifh families, many of which are in the
handwriting of Lord Burleigh. Some few coats of arms.

Genealogical and Heraldic MSS.

No. 312.

ENTISH Families. Thin folio, paper,
fF. 58.

Pedigrees of Kentifh families to a. d, 1574, with
Arms. roughly tricked, and corre6tions in the handwriting
of Lord Burleigh.

No. 300.
ENTISH Families. Oblong 410., paper,

ff. 39.

Arms of lords, knights, and gentlemen of the County
of Kent, 1593; alphabetically arranged; well drawn
and coloured. This MS. formerly belonged to Hafted,
the Kentifh hiftorian, who prefented it to the Lambeth
Library. (25 Jan. 1766.)

No. 316.

COTTISH Nobility, &c. Folio, paper,

ff. 140.

A volume formerly in the pofTeffion of Lord Burleigh,
containing — ift. Effigies of the Kings and Queens of
Scotland from Baliol I. to Mary, Queen of Scots, quaintly
drawn, and flightly wafhed with colours; ff. 2-18.

2nd. Arms of Scottifh nobility to 1604, fairly drawn,
and flightly coloured. One large coat to each page,
ff. 19-84.

3rd. Arms of Scottifli gentry, alphabetically arranged,
fome few coloured. Sixteen fhields to a page, ff, 89-130.

Genealogical and Heraldic MSS.

85

No. 320.

COTTISH Nobility, &c. Thin folio,
paper, ff. 34.

Genealogies of Scottifh Kings and nobility, roughly
written and without coats of arms.

At the end is a fheet of genealogical tracings, princi-
pally by Lord Burleigh.

No. 317.
RENCH Families. Folio, paper, ff. 56.

Genealogies of French families, without coats
of arms, written within circles. Some few are in the
handwriting of Lord Burleigh.

No. 301.

RENCH Nobility. Thin folio, paper,
ff. 56.

Genealogies of French nobility, in French, written
within fmall circles. A few coats of arms in trick.

No. 307.
OREIGN Nobility, &c. Folio, paper,
ff. 219.

Mifcellaneous coats of arms in trick, divided into four
books, with alphabetical indexes. Arms in trick of
foreign kings and nobility. Formerly in the pofleflion
of Lord Burleigh.

86

Genealogical and Heraldic MSS.

Nos. 314, 315.

PANISH Nobility. Thin folio, paper,
ff. 87, 80. 2 vols.

Genealogies of Spanifli nobility, partly in the hand-
writing of Lord Burleigh. Numerous rtiields of arms
fairly tricked. Index of Names.

No. 319.

|ORTUGUESE Families. Large folio,
paper; if. 217.

Genealogies of Portuguefe families, with a few coats
of arms in outline. Upon the cover is written " Ffor-
raigne genealogies ; my Lord's (Lord Burleigh's) owne
writing."

No. 508.

ESCRIPTION OF NUREMBURG,

Thin 4to., paper, ff. 36.

&c.

Whilft upon the fubjeft of heraldry, it may not be
inappropriate to call attention to an interefting little
volume (No. 508) containing "A breef defcription of
the famovs Cittie of Norenberg in High Germany,"
written by W. Smith, about the year 1594.

There are three dedicatory epiftles addreiTed refpec-
tively to Sir George Carey, Knt. Marfhall of the Houfe-
hold, Captain and Governor of the Ifle of Wight ; to
Edward, Lord Zouch, Cantelope and St. Maur ; and to

Printed Books.

87

the Right Honorable Sir William Cicell, Lord Burghley.
Prefixed to each of thefe is a large fhield of arms of
many quarterings, whilft at the beginning and ending of
the volume are numerous coloured coats of arms of the
fenators and gentry of that city.

This MS. is very neatly written, with maps of the
city and territory of Nuremberg, in addition to notes of
its '' gouernment, cuftomes and ceremonies.

PRINTED BOOKS.

HE introdudtion of the two following Printed
Books among the lift of Illuminated MSS.
may require fome flight explanatory remarks.
Firft, having been placed in the printed
Catalogue of the MSS. compiled by Dr. J. H. Todd,
it is thought better they fhould retain that pofition.

Second, the longer defcription necefTary to point out
their Jpecial hiftorical and artiftic features, renders them
unfuitable to be placed among the ordinary collection of
Printed Books to which a general reference only will be

m

ad(

No. 1049.

HRISTIAN Prayers, &c. Small quarto,
ff. 173. London, John Daye, 1569.

This very interefting little book intitled " Chriftian
Prayers and Meditations," &c., is one of the treafures.

88 Printed Books.

hiftorical and artiftic, of this library, and once belonged
to Oueen Elizabeth. The account of its tranfmifTion to
Lambeth is fomewhat uncertain, Botfield in his work on
" Cathedral Libraries" alleging that it was in the
pofTeflion of Queen Anne, by whofe means it may have
been prefented to the library ; Douce, the noted book
collector, mentions that it was prefented by Archbifhop
Tiliotfon. Whichever interpretation may be true, fome
light is thrown on the hiftory of this volume, by a MS.
note on the fly-leaf, which records " This book had
from Queene Elizabeth's dayes remained in the Ward-
rope att Whitehall till the time of Cromwell, and then
it was referved by Mr. JolifFe, one of the keepers of ye
Wardrope who fometime after gave it to the wife of
Mr. Lodowick Carlifle, by whome it was given to Mrs.
Burwell ; by whofe diredlion it was taken out of the old
cover and thus bound."

The editions of this illuftrated *' Book of Chriftian
Prayers," though rare, are fomewhat numerous, and may
be diftinguifhed by that of the firft, publifhed in 1569,
followed by others in 1578, 1581, 1590, 1608. The
Britifh Mufeum and Bodleian Libraries poflefs copies of
the editions of 1578, the later editions are more com-
mon, and reprints have been made from fome of them.
A much fuller account of the various editions and their
hiflory, can be obtained in a volume of the Tranfadions
of the Parker Society, entitled " Private Prayers of
the reign of Queen Elizabeth, 8vo., 1851." After this
introdu6tory notice of the book, the Lambeth copy
will fpecially invite attention, as having been in the
pofTeflion of Queen Elizabeth, and in all probability
printed and arranged for her as '' portions of it fuit
Elizabeth herfelf and no one elfe." The Litany and

Chrijlian Prayersy&c. 89

prayer for the Queens Majeftie are in the firft perfon.
Prayers and meditations for various occafions are in
Greek, Latin, EngHfh, French, Italian, and Spanifli.

The artijlic portion of the book comprifes page and
border illuftrations, defigned after Holbein and Albert
Diirer, and coloured by a more recent hand. The
marginal ornament at the foot of each page exhibits the
Royal and Elizabethan emblems, viz. : the rofe, fham-
rock, fleur-de-lis, portcullis, &c., with thofe of the bear
and ragged ftaff of the Earl of Leiceflier.

There are alfo feveral other elegant enrichments and
fcroll devices, which difplay the Tudorefque ftyle of
embellifhment.

The fubjeds of the Illuftrations are as follows : —

I ft. The frontifpiece reprefents the Genealogical or
Jefte tree, on the reverfe are the arms of Elizabeth, within
the garter and furmounted by a crown.

2nd. Facing the commencement of the text, is a repre-
fentation of the figure of the Queen in prayer, kneeling
upon a cuftilon with the fword at her feet.

3rd. The firft and greater portion of the contents Is
In Englifti, the text furrounded by engraved borders,
confifting of fcenes from the life of Chrift, between two
parallel fubjedls from the Old Teftament, thefe illuftra-
tions are fix times repeated.

4th. Then follow prayers In French, entitled " Un
bref formulaire d'oraifon." Signature H h.

5th. The Dance of Death. Signature K k. Twice
repeated, the firft time accompanied by prayers in
French and Italian ; the fecond, in Spanifli, Latin, and
Greek.

6th. The laft Judgment as a border Illuftratlon.

The Royal Arms as upon the firft page.

90 Printed Books.

No. 279.

lA Dance Macabre. A fine copy of
the French verfion of this celebrated
work, printed at Paris, upon twelve
leaves of vellum, without date, but probably
towards the clofe of the fifteenth century.

The fubjedt of this volume is fo interefting in its
nature, and has been fo often reprefented both in Eng-
land and abroad, that a fhort introdu6lion may not be
deemed out of place.

The origin of the word iVIacaber, or Macabre, is very
involved, fome contending that a German poet is meant,
the more likely interpretation, however, feems to be, that
the name Macaber is a corruption of Macarius, who
forms one of the chief figures in the illuftrations of this
book.

The Macaber Dance differs in its compofition and
treatment from the noted Dance of Death ; the fame
realiftic or moral meaning runs through all its verfes and
reprefentations, but it has, as an appendage, the ftory
called " les trois mors et les trois vifs," in which the
Saint Macarius plays a prominent part.

The earlieft appearance of " La Dance Macabre,"
with a definite date, is faid to be on the church of the
Innocents at Paris, 1434, the fubjeft is alfo pictured on
the cloifter of St. Chapelle at Dijon (1436?), and again
reprefented on the buildings forming a kind of fhed, in
the churchyard of the Dominican convent at Bafle. In
England, the Macaber Dance ornamented fome portion
of old St. Paul's, and there are faid to be traces of its
appearance in the now ruinous Archiepifcopal Palace at
Croydon,

La Dance Macabre. gi

This popular fubjed was fometimes introduced in the
tapeftries that decorated our mediaeval buildings, and from
forming the illuftrative adornment of fome ecclefiaftical
and domeftic ftrudlures, this moral pidure found its way
into illuminated MSS. and printed books.

Having fketched the time of the introduction and
manner of application of the Macaber Dance, it will be
worthy of mention to ftate, that many printed editions
of this ftory have appeared. Their number and rarity
can be learnt more at length by confulting Deuce's
learned diflertation on the Macaber Dance, and that on
Death afcribed to Hans Holbein. 8vo. i 833.

The Lambeth copy has thirty-three defigns, all of
which occupy the upper half of the page. The under
portion is filled by the text, arranged in verfes in a
converfational form, between Death and the different
perfonages whom he addrefTes.

The title-page has the following reprefentation ; a
dignified figure (an ecclefiaftic), feated under a gothic
canopy in his ftudy, about which writing materials,
books, and tables are placed, an angel appearing from
above, holds a fcroll, on which are infcribed thefe lines :

** Hec pidlura decus, pompa, luxumque relegat :
Inque choris noftris ducere fefta monet."

The feveral figures accompanied by that of Death ;
each portrayed in the coftume appropriate to his rank or
occupation, and two diftind charadlers are given on each
page. The perfons are arranged chiefly according to
their pofition in life, and begin with a figure of the Pope,
Emperor, Cardinal, King, Archbifhop, Knight, and
Bifhop. The next clafs is taken from a lower rank, and
reprefents the Squire, Bailiff, Aftrologer, Citizen, Mer-
chant, and Money changer, &c. Ff. ib-c^b.

92 Printed Books.

A third clafs portrays the Monk, the Phyfician, the
Judge, the Lover, the Cure, the Labourer, the Infant,
the Clerk, and the Hermit. Ff. 6-8^.

The appendage to the Macaber Dance, known as
*' Les trois mors et les trois vifs." Fo. \ob.

This fubjed, alfo accompanying the reprefentation of
the Macaber Dance, had appeared in fculptured work,
over the porch of the church of the Innocents at Paris.

The earlieft allufion, however, to the vifion of " Les
trois mors," feems to occur in a painting by Andrea
Orgagna in the Campo Santo, at Pifa. The painter has
there reprefented. three young men on horfeback, in the
purfuit of hawking, with coronets in their caps, and
attended by feveral domeftics ; they arrive at the cell of
St. Macarius, who, with one hand prefents them with an
infcribed fcroll or label, with the other points to three
open coffins, in one of which is a King.

The Lambeth illuftration nearly pidtures the former
part of that fcene, (fo. ii,) the latter portion, however,
reprefents three fkeleton figures of death, approaching a
crucifix plactd on a pedeftal, the Saint (Macarius) feated
outfide his cell, appears to be in the aft of praying ; a
fcroll with the words, " Omnium terribilium mors," is
placed on one fide of the entrance to the cell. Fo. \oh.

All the fubjefts are coloured, and each is enclofed in
a fpecies of Gothic framework ; the defigns are free and
uniform, gold is much ufed as an outline in the drapery,
and many interefling examples of mediasval coflume and
details are introduced.

At the end of the book is the following colophon ;
" Cy finifl la dace Macabre hifloriee et augmentee de
plufieurs nouueaux perfonnages et beaux dits, Et les trois
mors et trois vifs enseble nouuellemet ainfi copofee et
imprimee a paris."

The Lambeth Colle5iion. 03

T is thought unadvifable to conclude this Manual
without Tome flight reference to the Printed
Books with illuilrations; they are about eighty
in number, and difplay various degrees of excellence and
intereft, both as regards the ftyle of the engravings, and
the fubjeds illuftrated.

Though thefe works do not call for a detailed notice,
yet they offer many varied charaderiflics as to fubjed
and treatment, and their titles will all be found in the
Catalogue, newly arranged for library ufe. " The early
Printed Books in Lambeth Library," having already
been defcribed by Dr. Maitland, leaves therefore little to
be faid of the remaining volumes now to be noticed
which can claim bibliographical or artiftic merit.

Their illuftrations on wood and copper, in line, mez-
zotint, etching, &c., are executed by well-known Englifh
and foreign engravers, and fome with the addition of
hand colouring.

Scripture fcenes and legends, art and antiquities, alle-
gory, fymbolifm, coflume, ceremonies, geography and
hiflory, are the chief fubjedls treated and elucidated.

Many appropriate defigns are introduced on the
frontifpieces of the books, while decorative details form
a border ornament, and are fuggeflive and ufeful in
many ways. In works relating to fcience and invention,
thefe accompaniments fometimes ferved the double pur-
pofe of ornament and explanation, and it is well known
that, in devotional books and miffals, illuftrations were
confidered almofl as important an aid to religion as the
prayers they accompanied.

The Lambeth colledtion alfo includes engraved por-
traits, which occur either on the frontifpiece, or in the

94- Printed Books with Illujlrations.

body of the book ; they are of Britifh and foreign
fovereigns, nobles, divines, poets, philofophers, artifts,
men of letters, &c. Laftly, it may not be inappropriate
to call attention to the examples of a few elegant bind-
ings of Englifh and foreign workmanfhip, in offering
fome points of art intereft, both as regards ornament and
defign.

Though fmall, a colledlion of Printed Books with
illuftrations enables the ftudent to teft his knowledge
of engraved art, and to make himfelf acquainted with
the progreffive ftages of its feveral branches.

In fuch volumes the defigns of fome of the great
artifts of the paft can be ftudied, for it is a known fa6t,
that Otho Venius, Rubens, Guido, Diirer, Holbein, and
others, occafionally lent their aid to the embellifhment of
rare books. The Significance of illuftrated works may
be beft underftood by their having been made the me-
dium of refledling the fpirit of the age, whether in
religion, politics, or art. Thus, at one period, fymbo-
lifm was the inftrument by which moral leflbns were con-
veyed to the mind, and many books were replete with
defigns illuftrating thefe truths.

At another time, literature, veiled almoft by neceffity,
under certain enigmatical forms and perfonifications, was
accompanied by illuftrations of a character in keeping
with fuch mannered expreffions. Each age in turn, as
it produced the chivalric, paftoral, allegorical, or fatirical
forms of literature, found artifts who elucidated by their
pencil, thefe modes of writing.

A nation's annals fubjedl by neceflity to fluctuation,
will always find record in fome form or other, whether
in religion, hiftory, or art.

Printed Books with Illujlrations. 95

All that depids emotion, imagination, or paffionate
expreffion is conveyed through the arts, and thus they
are fpecially adapted to portray feelings which cannot
be fo well reprefented in any other form. Although
referved for painting, architedure, and fculpture to take
the prominent part, yet engraving offers many advan-
tages, both fpecial and univerfal.

Engraving enables us to poffefs faithful tranfcriptions
of the works of the great matters, in all ages and
countries, embodying events of hiftory, giving fubftance
and form to the imaginations of poetry and romance,
and being one medium of prefenting to the eye reprefen-
tations which words can inadequately defcribe.

Many prints too are publifhed, the fubjeds of which
were never painted, thereby much enhancing their value.
An accurate idea of the ftyle of a painter, who is fre-
quently his own engraver, is obtained from his prints,
which ufually exhibit the fame charadleriftics as the
original. Of this combination fome examples exift in the
Lambeth Colle6lion.

The intimate connection between Illuftrated Printed
Books and the literature of the age, renders the ftudy of
engraved art one of value and intereft, inafmuch as it
helps to recall the charaderiftics of the paft, and to ufe
them as aids to prefent ftudy.

INDEX

OF THE PRINCIPAL INITIAL LETTERS IN
THE ILLUMINATED MSS.

The Roman numerals reprefent the century of the MS. and the next
figures the number of the MS. in Todd's Catalogue.

A

X.
XII.

XIII.

XIV.

XV.

XII.
XIII.
XIV.

XV.

200
3

4
209

233
6

15

65
69

455
474

4
563
233

6

15

34
65
69

186
455
459
474

535
545

ff. 70, 71, 75, 84, 85^, 9+^.

ff. 286, 307, 309.

fF. 6z5, 100, 21 ii^.

f. I.

fF. 45^^, 189/^, 222^.

ff. I, 50.

ff. 86, 121.

ff- 7< 33^-
ff. 4^, 118^.

ff. 44. 78.
ff lib, \job.

r-3.

f. zob.

ff. '5. 51-

f. 158.

f. 1.

f. lb.

ff. 170, 290^.

f. 209.

ff. I, 139/^.

f. 116.

f. 54-

ff. 27, 901^.
f. 8.
f. 124.

X. 200 f 82^.

H

98 Index.

C XII. 3 f. 182.

„ XIII. 563 f. 85^.

„ XIV. 233 fF. 17, 21^, 28, 145-^, 214, 215.

„ XV. 15 fF.67, 83.

65 ff. 40, 150.

69 f. 237.

„ 186 f, 91.

474 ff. 49'i2+-

„ 535 f. 161,

D X. 200 fF. 79^, 98^.

XII. 3 ff. 4, 284^, 285, 296^.

„ 4 f, JfOb.

„ XIII. 563 ff. 35, 44^, 53^87^.

„ XIV. 233 ff. \6b, 19, 27^, 44, 64,82^, 148^.

XV. 15 f. 114^.

65 ff. 19, loib, 155, 173.

„ 69 ff, I, 156^, 2151^, 219^, 223^, 242, 373^.

„ 186 ff. 19^, 32^, 45, 93/^, 109.

455 ff- 32> 48-

459 ff- 7. ii> «9^-

474 ff- 2/^, 15. 25, 37^, 41, 72, loi, 136/J.

„ 535 ff 43, 66, 88, 187^.

„ 545 ff- 8, 48, 55-

E X. 200 ff. 70, 76.

„ XII. 3 ff. 165, 251, 2581^, 294^.

„ 4 f. 104^.

„ XIII. 563 f. 73^.

„ XIV. 233 ff. 29, 123^, 197.

„ XV. 15 i.79-

„ 6 f. 171.

„ 34 f. 161.

„ 65 ff. 26, 187^, 239.

„ 69 ff. 232, 262. 300^.

186 f. 74.

„ 474 ff- 9' 10^ '8-^.

F XII. 3 ff. 1,151.

XV. 15 f. 28^.

„ 474 f. 20/5.

X. 200 f. 84^.

XV. IS f. 77.

65 ff. loi, 223, 324/i

69 f. 145^.

455 f. 16.

Index. 99

H X. 200 fF. 72, jzb, jjb, 86.

XII. 3 fF. 88, 254.

„ XV. 15 f.46.

„ 6g f. 26^.

„ 474 fF. 45, 47.

I X. 200 fF. 71, 763, 77^.

„ XII. 3 fF. 6^, 130^, 310.

„ 4 f. 1 56.

„ XV. 6 f.74.

15 fF. 46, 91.

474 ff- 54> 95^-

IN \X. MacDurnan, fF 72, 172.

J X. 200 ff. 69, 81.

XV. 65 i.gib.

186 f. 36^.
474 fF. 25^, 134.

KL XIV. 233 fF i^, 2^, 3^, &c.

XV. 474 f. 3, &c.

L XII. 3 f. ej.

4 ff-4o^ 125.

„ XIV. 233 f. 170^.

„ XV. 6 f. 63^.

,, 15 ff. 2, 28.

65 ff. 20/^, 81^.

„ 69 f. 261.

„ 186 f. 131^.

„ 455 f. 44^.

„ 474 f. 28.

LI IX. MacDurnan, f. 2.

M X. 200 ff. 87^, 91, 97^.

XII. 3 ff 164^ 314.

„ 4 f. 208.

„ XIV. 233 ff79^, 86.

XV. 15 ffi8, 91.

65 ff. 16, 341.

„ 474 ff 29^, 109.

N X. 200 f. 74.

XII. 3 ff. 296^, 306.

„ XIV. 233 ff. H3, 193^.

XV. 15 f. 112.

„ 65 f. 277.

69 f. 329^.

I oo Index.

N XV. 1 86 f. z()b.

474 ff- 43^^. 4^-

O X. 200 f. 107.

XII. 3 fF. 306, 307, 314^.

„ 4 f. 38^.

XV. 6 f. 160^.

„ 65 f. 71^.

69 fF. 55, 192^, 313, 334.

„ 455 fF. 8, 45^, 70.

■ „ 459 f-68.

„ 474 fF. 2, 31^, 145^.

„ 545 fF. 164^, 184.

P X. 200 f. 743.

XII. 3 f. 256^.

„ 4 fF. 28, 124, 165, 184/^.

„ XIV. 233 f- '88.

XV. 15 fF. 59, 60-^,67, 73,81^, 87,

„ 65 fF. 21^, 264^.

„ 69 fF. 64, 137.

„ 474 f. 32.

Q^ IX. MacDurnan, f. 117.

„ X. 200 fF "jS, 90, 96.

„ XIII. 563 f- 53-

„ XIV. 233 fF. 15^,81^, 232.

XV. 15 fF. zSb, w-jb.

„ 65 f. 144^.

„ 474 f. 44.

R X. 200 f. 68^.

„ XIV. 233 f. 235.

XV. 6 f. 142.

„ 15 ff. 60, Sob, iiyb.

65 ff. 6zb, 137, 384.

,, 545 f- 70-

X. 200 fF, 80-^, 100.

XII. 3 f". 308.

4 F. 179.

XIII. 563 F. 62b.

XIV. 233 fF 25^, 194^, 200.
XV. 6 fF 43^, 174.

15 fF, 1 16, 1 19.

34 f. 118.

65 fF 161^, 254, 371^.

69 f}". 148^, 227^, 342. 394^.

Index.

lOI

u

V

w

X

XV.

X.
XII.
XV.

1 86 f. 58.

455 ff. 23, 66, -jU.

474 ff- 23' 152, 164.

535 f-^>°-

200

3
6

15

65

455

474

f.95.

f. 289.

f. 105.

fF. 85, 87, 90.

f. 231.

f. 78.

fF. 13, 24.

XIV. 233 f. 26.

XV. 15 f. 119.

69 f. 282.

XII. 3 fF. 52, 132, 198^5, 296;^, 300, 301^, 304, 30J

4 f-36.

XIV. 233 fF. 18, 206.

XV. 69 f. 141.

455 ff-75. 133.

474 fF 13^, wzb, \6zb.

XV. 6 f. 37^.

IX. MacDurnan, f. 5.

INDEX.

I'BECKETT, St. Thomas, murder of, reprefented, 44, 61.
Abel, the employments of, 30.
Abraham, fcenes from life of, 31, 70.
Aldhelm, Bilhop, treatife De Virginitate, 25,29, 30;
illumination engraved by Strutt, 30 ; other orna-
ment, 30.
Allegorical reprefentations, 14, 53, 54; in printed books, 93.
Amos the prophet, reprefented, 74.
Angels, reprefentations of, 49-52, 54, 64, 67, 70, 91.
Anglo-Saxon Art, 10, 29; MS. at Bodleian Library, 30; engraved in

outline, 30; fubjedts taken from Scripture, 30, 31.
Annunciation, the, reprefented, 32, 40, 45, 46, 58, 67.
Antiquity, figure of, 78.

Apocalypie, the, 21, 47 ; a favourite fubjef^, 21 ; delineated in various
ways, 21 ; its fcenes applied to hirtory, 48 ; fpecial features of the
three Lambeth copies, 48, 54, 55 ; lift of illuminations, 49-51,

52. 54' 55'
Apoftles, the, reprefented, 66.

Archbifhop, figure of, attired, 53.

Archbifliops : Abbott, i, 2; Bancroft, I, 2, 36, 77; Chichele, 32;

Cornwallis, 3, 6 ; Herring, 3 ; Howley, 3, 6 ; Hutton, 3, 6 ;

Juxon, 2; Laud, i, 2, "Ji^ 78; Longley, 7 ; Manners-Sutton,

3, 4; Moore, 6 ; Peckham, 4, 6; Potter, 3, 4, 6; Sancroff, 2, 5 ;

Seeker, 3, 6; Sheldon, 2; Tenifon, 3, 5,6; Tillotfon, 3; Wake,

5,6.
Architedlural acceflbries reprefented, 41, 48, 56, 58, 59, 61, 65, 70,

78,91,92.
Armorial bearings, 38, 60, 78; Archbifliop Chichele, 32; [John de

Laubefpine], 62; Laud, 78.
Armour, examples of, 32, 46, 48, 54, 57, 64.
Arraignment of Chrift, &c., 37, 68.
Art, examples of illuminated, during the ninth century, 27, 28, 29 ;

tenth century, 29, 30, 31; twelfth century, 69-75 ; thirteenth

century, 46, 54, "jG-y fourteenth century, 46, 47-54, 55-58, 80;

fif eenth century, 31-45, 59-68 ; fixteenth century, 79, 80, 81 ;

feventeenth century, "]"], 80.

1 04 Index.

Art, hiftory of, illuminated, 8-13.

Art and Antiquities, engraved examples of, 93, 94.

Afcenfion of our Lord, 32.

Affumption of che Virgin, 33.

Auguitine, St., meditations of, 37 ; ornamentation of MS., 38.

Author prefenting his book, 39.

Autographs in the Lambeth books, 4.

Babel, the building of, 31.

Baptifm of our Lord, 32, 37.

Baruc the prophet, figure of, 72.

Betrayal, the, 29, 59,

Bibles, 20: early printed, 21 ; illuminated MSS. of, 34, 35, 69-75;
St. Jerome's verfion, 21 ; the Mazarine, 34, 35 ; itate of preferva-
tion, 35 ; hiftory, &c., 34-35.

Bible hiftory, in illuminated letters, 24, 70-74.

Binding, examples of, 68, 77, 93.

Books printed with illuftrations, defign, and ornamentation, 94.

Breviary, the, 22, 23 ; Chichele, at Lambeth, 23, 31-33 ; ftyle of or-
nament and fubjeds of illumination, 31-33.

Byzantine art, re-introduftion of, in illuminations, 11.

Cain, the employments of, 30.

Cambridge, Univerfity library of, i, 2.

Ceremonies, examples of, in books, 93 ; ecclefiaftical, in MSS., 32, 33,
.47,58.

Chrirt, the head of, 72 ; illuftrations from life of, 28, 51, 52.

Chriftian prayers. Queen Elizabeth's book of, 26, 87 ; its hiftory, 88 ;
editions of, 88 ; ornamental features, 89 ; prayers in different lan-
guages, 89.

Chronicles: Caxton's, 25, 41, 42 ; the St. Alban's, 25, 59; ornament
and contents, 59-61.

Circumcifion, the, 37.

Clergy, " Records concerning the," 26, 77 ; compiled at command of
Archbifhop Laud, 77 ; title-page, embellifhed, 78.

Confecration of a church, 32.

Corpus Chrifti reprefented, 32.

Cofiume, medieval, 17, 39, 59, 61, 70, 92 ; ecclefiaftical, 30,61, 70 ;
in illuftrated books, 93.

Covenant, the old and new, fymbolically reprefented, 72, 74.

Creation of the world, 70.

Crofs, different examples of, 45, 6j.

Crucifixion, varioufly depided, 29, 37,45,46, 52, 57, 63, 64, 66, 67,
68, 74.

Dance of Death, the, 89-91.

Daniel, fcenes from life of, 73.

David, fcenes from life of, 33, 43, 47, 57, 58, 76.

Index. 105

Dead Chrift, reprefented in arms of the Virgin, 45.

Defcent from the crofs, 37, 45, 59.

Details, decorative, 17, 39, 48, 59, 6\ ; ecclefiaftical, 33 ; in printed

books, 93.
Defigns in printed books at Lambeth, 93.
Diftes and fayinges of the philofophers, 25, 38; miniature engraved

by Walpole and Strutt, 39.
Difputation in the Temple, 37.
Diirer, defigns after, 89, 94.

Ecclefiaftics reprefented as chanting, 40, 47, 58 ; as reading, 47.

Edward IV. and V., drawing of, 39.

Elizabeth, Queen, figure of, in prayer, 89 ; Royal arms of, 89.

Engraved art, 26 ; Iketch of, 93-95.

Entombment, the, 29, 59.

Evangelifts, the, 28, 64; figures of the four, 29; fymbols of, 15, 28,

57-
Eve, creation of, 76.

Ezekiel, fcenes from vifion of, 73.

Figures, female, 74; reprefented in the Jefle tree, 72 ; in the old and

new covenant, 72, 74; winged, 52, 78.
Flemifli art, 1 1.
Flight into Egypt, 45.
French illuminations, 11.

Genealogical and Heraldic MSS., 26, 81 ; relating to Englifh nobility,

81-83 5 toFlemifh, 83 ; French, 81, 82, 83, 85 ; German, 83 ;

Italian, 83; Kentifh families, 84; Portuguefe, 86; Scottifh, 84,

85; Spanifh, 83, 86.
Geographical fubjeds in illuftrated books, 93.
Gofpels, the four, in Latin, 28, 29.
Gradual, the, 23; inflrudions for mufical fervice of, 40; ornament,

41.
Grotefques, 40, 55, 56, 69.

Habakkuk reprefented, 74.

Henry VI. addreffing his courtiers, 41.

Heraldic MSS. written by or belonged to Lord Burleigh, 26, 81.

Hibernian art, 27-29.

Hiftorical fcenes, engraved in books, 93.

Hillory, fcenes delineated from, 38, 39,41,48; in the St. Alban's

Chronicle, from landing of Julius Caefar to Treaty of Arras, 59-

61.
Holbein, defigns after, 89, 91.

Holy Spirit, varioufly reprefented, 53, 66 ; deicent of, 43, 45, 63.
Hofea reprefented, 73.

io6 Index,

Hours of the Virgin, books of, 24, 25 ; of Englifli art, 36, 37, 39, 40 ;
Flemifh, 44, 45 ; French, 65, 66, 67.

Illuminated MSS., their hiflory, 8-13 ; pradical ufes, 17, 18; fchools
ofdefign, 10; afFefted by foreign influences, 10; by the religious
orders, 10 ; by the Crufades, 10; by the RenaifTance, i 2 ; by dif-
folution of monafteries, 12 ; by revival of learning, 12.

Induftry, figure of, 78.

Initial letters, 24, 29, 31, 32, 35, 36, 38, 39, 40, 42, 43, 44, 47, 56,
57, 58, 62, 65, 66, 68, 69, 70, 74, 75, 76.

Innocents, murder of the, reprefented, 45, 58.

Irifh fchool of art, 9, I i.

Ifaiah, execution of, 72.

Jacob's vifion reprefented, 70.

JelTe, or genealogical tree, defigns for, 33, 57, 58, 72, 89.

Joel reprefented, 73.

Jonah, various reprefentations of, 46, 57, 76.

Jura et privilegia, &c. 77.

Juftice, the figure of, 72.

Koran, the, 26, 79 ; hiftory of its tranfmiffion to Lambeth Library,
80; artiftic features, 80, 81.

Lambeth Palace, view of ancient, 78 ; memorials of, 5.

Laud, Archbifhop, 2 ; his books, 2 ; works drawn up by his command,
25) 77, 78 ; his diary, j-j.

Law, the, typically reprefented, 57.

Laft Judgment, the, 68 ; as a border illuftration, 89.

Legends, fcenes from, 47, 51-54 ; in illuftrated books, 93.

Les trois mors et trois vifs, 90 ; appended to the Macaber dance, 91 ;
how reprefented by Orcagna, 92 ; in the Lambeth illullration,
92.

Librarians at Lambeth, account of fome, and their works, 5-7,

Library, the, 1-7; bequefts by archbilhops, 1-4; printed books, 2, 4;
the MSS. 3 ; now depofited in Great Hall, 4; roof of, 5 ; cata-
logues of, 5-7.

Lord, our, in Majefty or glory, 33, 47, 57, 63 ; as a Judge, 46, 68 ;
fcenes from life of, 28, 52, 89 ; appears to Mary Magdalene, 37,
52; to the three Maries, 37 ; to His difciples at Emmaus, 37 ;
wafhes the difciples' feet, 37; appears to St. James, 37; fhows
His wounds, 66, 67 ; with His apollles, 66.

Macaber dance, the, 26; origin of word, 90; how reprefented in
England and abroad, 90; editions of, 91 ; fubjefls of illuftrations
in the Lambeth copy, 91, 92.

MacDurnan, Gofpels of, 21; ilyle of ornament, 27-29; other ex-
amples of fame ftyle, 27 ; illuminations in, 28, 29.

Index.

107

Malachi, reprefented as writing from infpiration, 74.

Martyrs, reprefentations of, 47, 49.

Mary and Elizabeth, the meeting of, 46.

Mercy, the figure of, 72.

Micah, reprefented in denunciation, 74.

Miffa], the, 22 ; the Limoges MilTal at Lambeth, 22 ; ornamental

features of, 62-64 ; arms of Bifhop of Limoges ? 62.
Mofes, fcenes from the life of, 70-72.
Mufical inftruments reprefented, 56, 76.

Nathan, reprefented in denunciation, 74,
Nativity, the, 32, 37, 45, 58, 66.
Nebuchadnezzar, figure of, 72; vifion of, 73.
Netherlands, art of the, 11, 12.
Noah, fcenes from the life of, 31.
Norfolk churches, decorative paintings of, 12.

Nuremberg, defcription of, 86; armorial bearings of gentry of, 86;
maps of, 87.

Oxford, Bodleian Library at, 2, 25.

Paflion of our Lord, the, 29, 37, 45, 68.

Pentecoft, the day of, reprefented, 32.

Pietas, figure of, 78.

Portraits, engraved, in books at Lambeth, 93, 94.

Prieft, figure of a, 47, 48.

Prefentation in the Temple, 33, 45, 66.

Prophets, the four greater, reprefented, 72 ; and the Law, 57.

Pfalms, WiclifFe's expofition of the firft eighty-nine, 25 ; ftyle of or-
nament, 35, 36.

Printed books embellifhed by hand, 12 ; with illuflrations, 87-95.

Pfalter: its contents, 23 ; fcope for illumination, 24; examples of, at
Lambeth, 24; Flemifh, 42, 43; French, 46, 56-58, 68; Italian
art, 76, jj.

Records, &c., in Lambeth Library, 4.

Regifters of the Archbifhops of Canterbury, 4.

Religion, figure of, 78.

Religious treatifes, illuminated, 38.

Renaiffance art, examples of, 78 ; afFefted illuminated MSS., 12.

Refurredion of our Lord, the, 32, 37, 46.

Ruth, fcenes from hiftory of, 7 1 ; and Naomi, 7 1 ; and Boaz, 7 1 .

Saints, the, reprefented, 40, 47, 51; St. Andrew, 33, 45,66; St.
Anna, 44, 65 ; St. Barbara, 33 ; St. Catherine, 45, 52, 65 ; St.
Chriftopher, 44, 51, 65 ; St. Edmund, 52; St. George, 44; St.
James, 37 ; St. Jerome, 37, 45, 66, 70, 73 ; St. John the Baptiil,
33, 44; St. John, apollle and evangelilt, 33, 46. 49, 50-52, 54,

io8 Index.

65 ; St. Laurence, 45, 52, 66 ; St. Luke, 33 ; St. Margaret, 45,

65 ; St. Martha, 52 ; St. Mary Magdalene, 37, 65 ; St. Matthew,
28; St. Michael, 66; St. Nicholas, 66; St. Paul, 33, 66 ; St.
Peter, 33, 66; St. Stephen, 66; St. Thomas a Becket, 44, 61,

66 ; St. Urfula, 60 ; St. Veronica, 47, 54.
Samuel, fcenes from life of, 33, 57. 76.

Saul, fcenes from life of, 33, 71.

Scourging of our Lord, 29, 37, 45.

Scripture fcenes, typically employed, 15; aided by illumination, 20,

• 21 ; reprefented in miniatures, 32 ; in illullrated books, 93.
Scroll work, examples of, 32, 40, 42, 56, 66, 67, 76, 89.
Services, ecclefiallical, repreiented, 32, 40, 47, 58.
Shepherds, appearance of, to angels, 45, 58, 66.
Stained glafs in Library, 5 ; fubjeds for, in illuminated MSS. 17, 57.
Staff, the paftoral, of the Irifh bifhops, 28.
St. John the Evangelill, fcenes from life of, 49-52, 54.
Symbolifm, 13; its hiftory, 14; figures and forms ufed in, for facred
fubjedls, 13-16; for fecular, 14, 16; employment of colour in,
16.

Teftament, the New, 34, 35 ; reprefented typically as a female figure,
72 ; the Old, fubjedls of illuminations from, 70-74; reprefented
as a female figure, 72.

Treatifes, mifcellaneous, 29; illuminated, 37, 38.

Trinity, the, varioufly reprefented, 32, 43, 44 ; fymbols of, on a fhield,
53-

Ufes, praftical, of illumination, 17, 18.

Vellum books, 34.

Veritas, figure of, 78.

Virgin Mary, variouily reprefented, 45, 46, 64; allegorically, 53, 54 ;

prefentation of, 45 ; and Child, 45, 46, 52, 57, 65 ; and St. Anne,

45 ; and Saints, 33.

WiclifFe's expofition offirll eighty-nine pfalms, 21, 35.
Wife men's offering, 45, 58.
Wound of our Lord, the, 67.

Zechariah, fcenes from the vifion of, 74.

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